Posts Tagged ‘Hemant Kumar’
Maa o devee maa sachchee raah dikhaao
Posted on: May 6, 2024
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 : |
5771 | Post No. : | 18296 |
Today’s song is from the social film Paayal-1957.
The film was made by Madras films, Madras. The producer and the director was the owner of this banner – T. Joseph. Music was by Hemant Kumar and the cast of the film was Padmini, Sunil Dutt, Ragini, David, Baby Naaz, Bipin Gupta, Achala Sachdev, Minoo Mumtaz, Shivraj, Agha etc. Raj mehra was the Guest artiste.
The combination of the actors in the cast easily indicates that it was a love cum family drama. The lead pair of Padmini and Sunil Dutt were comparatively new entrants to the Hindi films. While it was only the 6th film of Sunil Dutt, it was the 7th film of Padmini in Hindi language. ( she had, by now, worked as a dancer/actress in 90 films in southern languages). Compared to these two main artistes, Baby Naaz had acted in 27 films by now. Even in this film, her role was very important.
When we talk of Child Artistes, stories of the Irani sisters – Daisy, Honey and Menaka, and Baby Naaz, touch our hearts and open up a chapter of child abuse for money by parents, especially the mothers. Working in films from childhood deprives them from good education and normal childhood as they played the role of ” hens that laid Golden eggs) for their parents. The story of Baby Naaz is heart-shaking too !
Naaz (20 August 1944 – 19 October 1995) was an actress, known for Boot Polish (1954), Kaagaz Ke Phool (1959) and Bidesiya (1963). We know her better by her stage name Baby Naaz.
So impressive and spontaneous was Baby Naaz’s performance in Raj Kapoor’s “Boot Polish” that, even after she grew up, got married and became a mother, she was still known as Baby Naaz. Her role in Boot Polish, released in the early 1950s, won several international awards and brought fresh acclaim to R. K. banner. Even in 1995, she won a special jury mention at the Cannes Film Festival for her role in the film. Naaz had a good thing in Boot Polish, a credible storyline, excellent technical effects, wonderful performances by veteran David, Master Rattan, catchy music & John chacha, tum kitne ache, Nanhe munhe bacche teri mutti mein kya…. & Lapak jhapak.. and then, ofcourse, her own performance.
Boot Polish was Naaz’s 10th or 12th film. No one knows how she got the role. According to her actor-husband, Subbi Raj, Nargis once spotted Naaz doing a show & was highly impressed. She recommended the child to Raj Kapoor, who was equally impressed and cast her in Boot Polish. The rest is history.
Baby Naaz was born on 20 August 1944 in Bombay, Bombay Presidency, India as Salma Baig. Naaz was born into a family obsessed with showbiz. Her father tried his luck in the film industry, but was not much of a success. Her mother pushed her into films and, very soon, Naaz was the family’s sole earning member.
The young girl debuted on stage when she was four, and in films when she was eight. Her father, Mirza Dawood Baig, was an unsuccessful story writer and somehow over time, Naaz became the only earning member of the family. At the age of six or eight, she was taken to the studios daily where her mother coaxed producers and directors to give her a chance and however she got the role, it was with Boot Polish that she became a celebrity, even beyond Indian borders, and the first choice as child artiste.
“I wanted to study, but unfortunately I had no time to breathe and had to forget about school. I left studies, for my mother didn’t stop accepting films on my behalf and my father stopped working. My mother was too used to making money out of me and didn’t want to forgo this easy life. She wanted me to work for her comforts and I was both too young and in awe of my parents to refuse.” She had said in an interview.
With a troubled family life, Kumari Naaz could never graduate to the big league. There was no one to manage her career and her mother accepted any and every role that came by. Raj Kapoor wanted to send Kumari Naaz to a Swiss finishing school for five years, intending to launch her under his banner after she returned. But Kumari Naaz recalled that her mother had wanted to go along with her to Switzerland too, and turned down the offer when she realised that would not be possible.
Naaz became the highest paid child artiste and worked in around 120 films. But her reality was that she was being neglected by her parents who were constantly fighting with each other. Sometimes, after coming home from the day’s shoot, she would fall asleep without having dinner. By the time she turned 12, her parents separated and Kumari Naaz had to stay with her mother, who remarried when Naaz was 16 years old.
Like Tabassum, Daisy Irani & other famous child artistes, Naaz did not make it as a heroine. It could be because there was no one to advise her on how to pick roles. And her mother was excessively eager to make Naaz a heroine. She dressed her daughter in loose, grown-up garments, cake her face with heavy makeup and tried to pass her off as a woman. The ploy worked with some producers, but Naaz was the ultimate sufferer.
But that Naaz was excellent as a child artiste there is no doubt. She worked with leading directors in outstanding films including Hrishikesh Mukherjee’s Musafir, Bimal Roy’s Devdas, K. A. Abbas’ Munna and the Nargis-Balraj Sahni starrer, Lajwanti.
(Baby) Naaz played the heroine in about 30 eminently forgettable films. But her roles, in Nadir Shah with Feroz Khan, Lambe Haath with Mehmood, Rocket Girl with Sudesh Kumar & Gangu with Chandrashekhar did not challenge her undoubted talent, only her drawing power. She also starred in Mera Ghar Mere Bachche and Dekha Pyar Tumhara opposite Raj Kapoor’s cousin, up-and-coming hero Subbi Raj Kumar. They fell in love and, after a five-year courtship, were married in 1965, despite some initial opposition from their families and the industry.
Naaz continued to work after marriage but family came first. She was never pushy and, in an industry known for its cut-throat competition, never sought favours from producers and directors. Soon, she matured into a character actress and bagged good roles in films like Bahu Begum, Kati Patang and Sachcha Joota (where she played Rajesh Khanna’s crippled sister).
Occasionally, Naaz did feel her talent had been ill-used by the industry. As a result, she became more family-oriented. Naaz had an exquisite voice & spoke beautifully. Not many are aware that she transitioned into a second career as a dubbing artiste. Before Sridevi started using her own voice, Kumari Naaz dubbed for her in the early Hindi hits of the 1980s. It was a far cry from the status she enjoyed during her early years in Hindi cinema.
And then, one day, Naaz complained of stomach pain and slight difficulty in swallowing. Sonography revealed tumours, which had spread all over the liver. Surgery and chemotherapy were ruled out and she tried Japanese therapy to reduce the pain. On October 16, 1995, Baby Naaz began slipping. Subbi Raj, who was shooting in Jammu, rushed back to Bombay. But she quietly drifted away in her sleep three days later, on October 19.
Film Paayal-1957 was a remake of the Tamil film Mallika-1957, made by the same banner, producer and director-T. Joseph. The wave of remakes of south films into Hindi started mainly from S.S.Vasan’s “Chandralekha”-1948. The extraordinary success of his film showed the road to “Alibaba’s Cave” to other filmmakers and it started the Roller Coaster of remakes of Hit and Successful films into Hindi. Vasan himself brought out Mangala, Nishan, Mr. Sampat, Bahut din hue, Sansar, Raj Tilak, Insaniyat, Paigham, Gharana, Aurat, Teen bahuiraniyan and Shatranj. It is not that the remakes were only from southern languages. Bangla, Marathi and Gujarati films too were remade or dubbed. However, the south films in this category outnumbered all other languages. Just see these lists (these lists are not exhaustive, but only indicative)….
Remakes in the 50’s…..Bahar, Sharda, Miss Mary, Chhoti behan, Insaniyat, Azaad, Paayal, Amardeep etc.
In 1960s we had major movies as remakes like Barkha, Hum Hindustani, Prem Patra, Dil Ek Mandir, Dil Tera Diwana, Doli, Gharana, Sahib Bibi Aur Ghulam, Mera Saaya, Nazrana, Farz, Milan, Mamta, Majhli Didi, Mehrbaan, Aadmi, Teen Bahuraniyan, Khandan, Do Dooni Chaar, Padosan, Pyar Kiye Ja, Saathi, Sadhu Aur Shaitan, Ram Aur Shyam, Main Sunder Hoon and more.
1970s witnessed remakes as Gopi, Pyar Ki Kahani, Do Phool, Lakhon Mein Ek, Safar, Jeevan Mrityu, Khamoshi, Dharti, Mere Apne, Naya Zamana, Aaina, Sanjog, Prem Nagar, Apna Desh, Humjoli, Chhoti Bahu, Lal Pathhar, Bawarchi, Naya Din Nayi Raat, Piya Ka Ghar, Amar Prem, Balika Badhu, Charitraheen, Chupke Chupke, Kora Kagaz, Khilona, Julie, Khushboo, Lok Parlok, Sargam, Bombay To Goa, Aap Ki Kasam and more.
The trend reached its peak in 1980s when many already established directors in south joined in creating Hindi remakes of their hit regional-language movies. As a result, there was a remake releasing regularly featuring stars of Hindi cinema, such as Jeetendra, Dharmendra, Rajesh Khanna and Amitabh Bachchan, along with stars from the south as Kamal Hasan, Rajinikanth, Sridevi, Jaya Prada and more. The key remakes releasing in this decade were Sau Din Saas Ke, Ek Duje Ke Liye, Sadma, Zara Si Zindagi, Bemisal, Red Rose, Hum Paanch, Angoor, Meri Aawaz Suno, Woh Saat Din, Anubhav, Aaj Ka Daur, Ghazab, Kaamchor, Tohfa, Eeshwar, Hatya, New Delhi, Pataal Bhairavi, Saheb, Mahaan, Inquilaab, Aaj Ka MLA Ram Avtar, Aakhiri Raasta, Andha Kanoon, Dayavan, Satyamev Jayate and many more. On the other end, remakes of hit Hindi films also started being made in the South featuring names like Kamal Hassan and Rajinikanth.
In 1990s the pattern continued with young known stars of Hindi films as well as from South like Chiranjeevi, Nagarjuna, Venkatesh and Revathi featuring in remakes such as Pratibandh, Aaj Ka Goondaraj, Love, Shiva, Taqdeerwala, Pratikaar, Abhimanyu, Pratighaat, 100 Days, Chachi 420, Gopi Kishan, Viraasat, Muskurahat, Judaai, Police Public, Beta, Biwi No. 1, Bol Radha Bol, Sailaab, Sajan Chale Sasural, Judwaa, Coolie No.1, Raja Babu, Andaz, Aankhen, Gardish, Sooryavansham and more.
In the new millennium, Rehna Hai Tere Dil Mein, Tere Naam, Nayak, Hera Pheri, Kyon Ki…., kept the tradition alive till social networks came in and films like Ghajini and Wanted became the center of attraction as remakes of their South originals. Unfortunately since then, it has become one of the most (blindly) followed pattern by Hindi filmmakers to go for a remake that gives them ready material to work upon and adapt as per the tastes of Hindi film viewers taking much less time in comparison to an original project.” (based on an extract from an article in Free Press Journal dt.7-12-2020,by Bobby Singh ji ).
Artists from South tried their hand with Hindi films, either by Remade or dubbed films. Thus the greatest south actors like Sivaji Ganeshan, M G Ramchandran, N T Rama Rao, A.Nageshwar Rao, Jailalita, Janaki, Susheela, Prem Nazir of the older gen and Rajanikanth, Kamal Hasan and Chiranjeevi from the next Gen were seen in Hindi films. In the music department also, many composers like K.Narayan rao, C.Balaji, S.Rajeshwar rao, C R Subramanyam, E Shankar, R Sudershanam, Ramesh Naidu, Adi Narayanrao, Vishwanath-Rammurthy, Lingappa etc worked in Hindi films.( Only Dr.Rajkumar, the Kannada Superstar never worked in Hindi films. In fact, except for just 1 Telugu film, Shri Kalhasti Mahatmyam, Dr.Rajkumar never worked in any other language film.)
Here is the story of today’s film Paayal-1957……..
Two sisters, Kamla and Padma, lose their parents in an air crash. The eldest daughter, Kamla, takes up the responsibility of upbringing her younger sister, who is deprived of her eyesight. In order to earn a livelihood, Kamla is forced to become a stage dancer. One day while returning home after work, she comes across a young man who lies unconscious on the road. She takes him to her home, upon which he reveals his name as Mohan (Sunil Dutt), and as the son of a rich landlord (Bipin Gupta). Mohan runs a hotel business in the city much against the will of his father.
A dejected Mohan finds solace in Kamla, and they fall in love with each other. But when he gets to know that Kamla is a stage dancer, he calls her as a prostitute. Earlier Padma had told him that Kamla was a teacher in a night school. Later, when he gets to know that Kamla has been doing this only to save money for Padma’s eye operation, he reconciles with her. Mohan’s father meets Kamla and extorts a promise from her that she will give up all claims on Mohan. Later, the landlord gets murdered by Shankar, his manager. Mohan is charged with the murder. In order to rescue Mohan, Kamla takes up the blame of the murder. Padma, a prime witness of the murder, undergoes an operation and regains her eye sight. She reveals the truth that Shankar was the real murderer. Shankar kills himself with a gun. Mohan’s mother (Achla Sachdev) and sister (Ragini) become happy and accept Kamla.
With today’s song, the film is YIPPEED, with all its songs covered here. This is my 25th post on YIPPEE films, in last one month. Enjoy the song which is picturised on Naaz and Padmini….
Song- Maa O Devi maa sachchi raah dikhaao (Paayal)(1957) Singer- Lata Mangeshkar, Lyricist- Rajendra krishna, MD- Hemant Kumar
Lyrics(Provided by Prakashchandra)
Maa
o devi maa
sachchi raah dikhaao o o
maa
o devi maa
sachchi raah dikhaao
ghor andheri raat hai meri
ujiyaraa barsaao o o
maa
o devi maa
sachchi raah dikhaao o o o maa
band meri aankhon ke dwaarey
khula huaa hai dwaar teraa
band meri aankhon ke dwaarey
khula huaa hai dwaar teraa
bolo maa
kab muskaayega
dard bharaa sansaar meraa
kab tak hogaa
door andhera
itnaa to batlaao o o
maa
o devi maa
sachchi raah dikhaao o o maa…aaa
iss dharti par mera jeevan bojh naheen to kya hai
iss dharti par mera jeevan bojh naheen to kya hai ae
kya meri
qismat mein Maataa
duniya bhar ka dard likha hai
main bhi to santaan hoon teri
mujhko bhi apnaao o o
maa
o devi maa
sachchi raah dikhaao
ghor andheri raat hai meri
ujiyaraa barsaao o o o
maa
o devi maa
sachchi raah dikhaao o o o maa..aaa
Dil ko lagelaa mohabbat ka chaskaa
Posted on: May 5, 2024
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 : |
5770 | Post No. : | 18295 |
Today’s song is a funny video song from the film Police-1958.
The film was produced by Deep and Pradeep productions, Bombay and directed by Kalidas – brother of the Hero of today’s film, pradeep kumar. The Music Director was Hemant Kumar and songs were written by Majrooh Sultanpuri (6 songs) and Neelkanth Tiwari (just one song) who wrote today’s song. The cast of this film was Pradeep Kumar, Madhubala, Raj Mehra, Nadira, Dhumaal, Deep khosla (one of the producers), Omprakash, Tun Tun and others.
Film industry is a field where a strong Luck is required to succeed. Initially it was felt that a handsome man or a beautiful girl can easily get into films, be famous, rich and successful. But in many cases it was found that only a facial beauty was not enough to succeed here, nor was only the histrionic talent. And then, even if one had both, still there was no guarantee of success in films. Then what was the secret ? No secret. Simplu good luck was needed to succeed here. Dev Anand was very handsome and charming, but even his biggest fan would not have called him an expert in acting. Still, he succeeded. Om Puri had extraordinary talent but he was not good looking. He never got glamorous roles.
Another obstacle is Branding an actor (both male and female artiste). Due to the consistency of doing a fixed type of role, the actor got caged in only certain types of roles. Could you ever imagine Keshto Mukherjee as a generous Millionaire in any film ? He was always branded as a drunkard. Remember what happened when Ashok Kumar acted in films like Humayun-1945 or uttara-Abhimanyu-1946. The audience laughed at him when he was shown in war gear on the screen, with a sword held high in the air and then other Gods ran away seeing him in a Mythological film !
In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).
All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artists Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.
Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.
Hero Pradeep Kumar was a fortunate actor. He was the first choice to play prince/king in numerous Hindi films. His talwar-cut moustache, broad shoulders, receding-into-his-temples coiffure, peaches-and-honey complexion, and regal bearing made him fit the role of an amorous aristocrat like a made-to-order crown.
Pradeep was the kind who could smoke a hookah with the same élan as while puffing State Express cigarettes when he played the modern lover.
Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. Pradeep bided his time till he was 17 years old before he announced his decision to pursue an acting career. Despite his father’s disapproval, Pradeep began acting on stage. During one of his performances, renowned filmmaker Debaki Bose spotted him and cast him in a Bengali film, Alaknanda (1947).
Encouraged, Pradeep moved to Mumbai and found a job in the bustling Filmistan Studio. He brushed up on his Hindi and learnt Urdu in a bid to make an impression in his first Hindi film, Anand Math (1952). The film, set in the 18th century, had strong nationalistic overtones and co-starred Prithviraj Kapoor and Geeta Bali. The Vande Mataram number from this film became a cult success.
In the next two years, Pradeep’s career escalated to the top with two hugely successful musical hits — the Bina Rai-starrer Anarkali (1953) and the Vyjayanthimala-starrer Nagin (1954). While Anarkali revolved around the eternally popular legend of Mughal prince Salim’s passionate affair with a commoner Anarkali, Nagin was a reed-slim romance between two lovers belonging to rival snake-catching tribes.
The songs of both films (Nagin had as many as 12) had audiences transfixed. Pradeep’s lessons in fencing for Anarkali and his gamble of letting a python play on his wrist for Nagin paid off.
Pradeep’s regal demeanour won him legions of fans. He went on a signing spree (in 1956, he had 10 releases) and inked deals with V Shantaram (Subah Ka Tara) and Raj Kapoor (Jagte Raho).
All the top-notch heroines of the 1950s — Nimmi (Jayshree), Nargis (Adalat), Nutan (Heer), Meena Kumari (Bandhan) — were paired with Pradeep.
After Rajhath (1956), the actor tried desperately to make a hit pair with the beauteous Madhubala. They did as many as five other films together — Yahudi Ki Ladki (1957), Gateway Of India (1957), Police (1958), Mahlon Ke Khwaab (1960) and Passport (1961), but Pradeep’s efforts were in vain.
His films with lucky mascot Vyjayanthimala (including his home production Ek Jhalak) did not enjoy even a fraction of the success of Nagin. But his pairing with Bina Rai seemed to have stilled the wings of time. This teaming salvaged Pradeep’s career from the late-1950s dip, first with Ghunghat (1960) and more decisively with Taj Mahal (1963). Even a decade after Anarkali, Pradeep could evoke a regal aura while playing love-struck Mughal royalty. Roshan’s dulcet duet, Paon chhu lene do toh and Jo vaada kiya from Taj Mahal, like an unforgettable promise, continue to haunt radio listeners even today.
Pradeep’s career got a further fillip with Rajshri’s social, Aarti. Meena Kumari and Pradeep played lovers who bond together because of their common desire to serve the poor. But their love story comes under a cloud when a rich, unscrupulous doctor (played by the late Ashok Kumar) is irretrievably drawn towards Meena Kumari. Aarti’s success ensured that Pradeep and Meena worked unceasingly in a series of films. Pradeep once said, “Meena and I made a fine pair and worked very well together, but her husband did not like our friendship.”
He worked with Meena Kumari in seven films; Adil-E-Jahangir, Bandhan (1956 film), Chitralekha, Bahu Begum, Bheegi Raat, Aarti and Noorjehan; and with Mala Sinha in eight films; Naya Zamana, Hamlet, Baadshah, Detective (1958 movie), Fashion (1959 film), Ek Shola, Duniya Na Maane, and Mitti Mein Sona.
He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in Ghoonghat and Meri Surat Teri Aankhen and with Waheeda Rehman in Raakhi (1963). In 1969, he moved to character roles with Sambandh and Mehboob Ki Mehndi, but did not have many visible roles until Jaanwar and Razia Sultan in 1983.
The first Meena-Pradeep film to release on the heels of Aarti was Kidar Sharma’s Chitralekha (1964). Pradeep played the hedonistic Samanta Beejgupta in this period film set in the Gupta period. Despite lavish production values, the stolid support of veteran Ashok Kumar and exquisite penmanship by Sharma and Sahir, the film collapsed at the box office. Kalidas’s love triangle Bheegi Raat, which featured the tried triangle of Ashok Kumar, Meena Kumari and Pradeep once again, was an average success. But M Sadiq’s Muslim socials Bahu Begum (Ashok Kumar again) and Noorjehan, both released in the same year, spelt the death knell for the team.
Pradeep, who had not signed a single film with the new breed of successful heroines of the 1960s like Sadhana, Saira Banu and Sharmila Tagore, suddenly found himself without a rudder.
In 1969, Pradeep saw a glimpse of success once again with Sambandh, albeit in a character role. Ironically, Ajoy Biswas, the director of Sambandh, who had provided him with a short burst of fame, caused him a lot of heartburn too. Biswas had a short-lived and unhappy marriage with Pradeep Kumar’s actress daughter, Bina.
Pradeep’s princely persona and impeccable Urdu was relegated to the pages of history for the next decade and more. But the onscreen prince was destined to play an emperor in Kamal Amrohi’s Razia Sultan (1983). Pradeep Kumar acted in 144 Hindi films. He directed one film-Do dilon ki dastan-1966. He won the Kalakar Award-Lifetime Achievement Award (1999).
The semi-retired Pradeep played the emperor as only he could — forcefully. After all, he had played blue-blooded characters all his life. He lived a life removed from the spotlight for the next 18 years. His end was pathetic. Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days,on 28-10-2001, at the age of 76 years.. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.
He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including Uttaran, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s Housefull 2 (2012) and Himmatwala (2013). (Ack: adapted from an article ” Ever the Royal” by Dinesh Raheja in Rediff.com dt 2-6-2003 and my notes, HFGK and muVyz. Thanks to all).
The story of this film…..
A big police officer is murdered during an investigation. The department suspects famous gangster Rangooni to be behind it. However, news from Singapore says Rangooni had died in an accident.
The police are shocked to know that Rangooni was coming to Bombay. They stop him at the airport and warn not to indulge in any crime. However, during one function in a big hotel, where Rangooni as well as another gangster Ramesh and his gang is present, a costly Necklace was stolen, when the lights went off for a few minutes. Police suspect Rangooni and then learn that he is actually a secret agent Amar – a look alike of Rangooni – who is trying to capture Ramesh.
Meanwhile Amar meets Manju, love starts and the mandatory songs are sung. Ramesh tries to kidnap Manju to extract a heavy ransom from her rich father. Amar enters the boat in disguise and tries to free Manju. There is a fight between Ramesh and Amar and Ramesh is killed. Manju is free. They get united. Mission accomplished and the happy audience goes home with relief !
Today’s song is the last and final song of this film, making it a YIPPEE film. Enjoy the song video….
Song- Dil ko lagela muhabbat ka chaska(Police)(1958) Singer- Mohd. Rafi, Lyricist-Neelkanth Tiwari, MD- Hemant Kumar
unknown female voice
Lyrics
haay haay haay haay
haay haay haay haay haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
teri nazar ne
ho meri nazar ko
lagaaya hota mashka re
maska ho maska
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
meri aankhi se apna aankhi
kaai ko ladaaya
kaai ko ladaaya bhai
apna kya nistake
sachchi ham bolta
ham bhi ladaaya
ham bhai ladaaya
kaai ko re
hamko maza aaya
ho maza ho maza aaya
ganne ke ras ka ras ka ras ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska bhai
kabhi ham kholi mein
sota hai raat ku
per dil mera yaad
karta teri is baat ku
hum jabi sunta hai
ik achchaa ghazal
dil ka darad hota double double
ho dil ka darad hota double double
dil ka darad hota double double
hota double double
ek ek laakh lagta
kya
are waah
ek ek laakh lagta
laakhon baras ka
laakhon baras ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
sapne mein nazar aata unko tera aankda
phephde mein phootataa hai
kya
phephde mein phootataa hai
haatim phataakda (??)
haathhi(??) hota gili gili
phokat mein khaalee peelee
phokat mein khaalee peelee
haathhi hota gili gili
phokat mein khaalee peelee
khaalee peelee gili gili
gili gili gili gili
khaalee peelee
gili gili
gili gili gili gili
khaalee peelee
gili gili
khaali pili gili gili
gili gili
gili gili gili gili
gili gili gili gili
aaja zaalim kaai ku
ho ho ho
aaja zaalim kaai ko
bataata hai thhaska
thhaska
thhaska
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
tum nahin aayenga
hum maarenga bomb
bahut bura hota hai
aashiq ka kaum
ek baat bolta kheesa garam hai
hamko kya samjha
hum bhi nahin kam hai
kya samjha
are aayenga to bhaada denga
taxi ka bus ka ho
ho bus ka
ho bus ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
ho dil ko lagela mohabbat ka chaska
chaska bhai
yeah haah
Bhor bhayee uthh jaag re bande
Posted on: March 24, 2024
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 : |
5728 | Post No. : | 18248 |
“Mere Laal”(1966) was produced by Jyotsna Sen and directed by Satyen Bose for S.S.Chitramandir (P) Ltd.
The movie had Dev Kumar, Indrani Mukherjee, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Misra and Abhi Bhattacharya. They were supported by Jamal, Samson, Raj Kumar, Siddiq, Ghulam Sabir, Bhola, Master Anwar,
Madhuraj, Meenakshi, Juthikadevi, Darshan, Moolchand, Master Satyajit, Mahesh Kumar, Master Ratan, Bihari,Kedarnath Saigal, Harbans Darshan. M.Arora, Ratan Gaurang, Moolchand etc in it.
Story of the movie, as collected from internet and shared by Prakashchandra is
Badshah (Dev Kumar) is the most wanted dacoit in town. One day he goes to rob a house with his group, but the police comes to catch them. Badshah manages to flee and hides at an unknown place, where he finds a young girl kidnapped and tied with ropes. He rescues the girl. The girls name is Jamna (Indrani Mukherjee) and she is a street dancer. She stays with her alcoholic uncle. Jamna develops an immediate liking for Badshah, inspite of knowing his profession.
One day Badshah sees one of his enemies and he chases him. He follows him in a little boat in the Ganges. But the boat drowns in the flood. Badshah escapes safe through the flood and finds a little boy crying at the shore. The little boy was trapped in the flood and actually belonged to a married couple of the village. Badshah does not feel like leaving the kid alone. He takes the child with him. He goes to Jamna to give her the child so that she can take care of him. But she refuses, thinking that the child is Badshah’s son.
Badshah takes the responsibility of the child and names him “Bacchu”. He gets very attached to Bachhu, also leaves his profession and eventually turns into a good man. On the other hand Bachhu’s real mother, Madhu (Mala Sinha) is devastated to have lost her only child. Badshah starts earning his bread and butter by singing and dancing on the streets.
Ten years pass by. One day Badshah falls sick and Bachchu goes to sing alone, where he meets his real mother Madhu . Madhu and her husband recognize Bachhu by his locket. They go to Badshah to seek permission for taking Bachhu along with them. Badshah with initial hesitation lets them take their child, so that Bachhu can get a better home and education. Bachhu goes with his real parents. But Badshah and Bachhu both are really sad to have got separated. Badshah falls sick and his condition becomes critical. Bachhu flees from his home to meet Badshah. But by that time Badshah has died.
“Mere Laal”(1966) had eight songs in it. Seven songs have been covered in the blog.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 1234 | Meri patli kamar lambe baal re | Lata Mangeshkar | Majrooh Sultanpuri | 7 May 2009 | |
| 1242 | Paayal ki jhankaar raste raste | Lata Mangeshkar | Majrooh Sultanpuri | 8 May 2009 | |
| 8362 | Agar padho likhoge babu raja banoge | Lata Mangeshkar | Majrooh Sultanpuri | 17 July 2013 | Lyrics by Khyati Bhatt jee |
| 13626 | Jab tak ye sansaar nachaaye Multiple version song | Mukesh, Usha Mangeshkar | Majrooh Sultanpuri | 1 October 2017 | Post by Sudhir Jee , Multiple version song. One thousandth song of Majrooh Sultanpuri in the blog as lyricist |
| 14882 | Baadal roya naina roye | Lata Mangeshkar | Majrooh Sultanpuri | 16 February 2019 | |
| 18204 | Laal tera jug jug jiye maataa | Lata Mangeshkar | Majrooh Sultanpuri | 12 February 2024 | Lyrics by Prakashchandra |
One can observe that The movie had as many as five Lata Mangeshkar solo songs in it. One song had voices of Mukesh and Usha Mangeshkar.
One final song from the movie remains to be covered in the blog. This song is sung by Hemant Kumar. This brief song is picturised as a background song. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.
Lyrics of the song were sent to me by Prakashchandra.
With this song, all the songs of “Mere Laal”(1966) get covered in the movie. The movie thus joins the list of movies that have been YIPPEED in the blog.
Video
Audio
Song-Bhor bhayee uthh jaag re bande (Mere Laal)(1966) Singer-Hemant Kumar, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Lyrics(Provided by Prakashchandra)
bhor bhayee
bhor bhayee
uthh jaag rey bandey ae ae
rain gayee ee ab sonaa kyaa rey ae
samay chook phir pachhtaawegaa aa aa
samay chook phir pachhtaawegaa
aisaa avsar kab aawegaa aaa
jhilmil jyot jharey aey ambar se
tu andhee..ee sapnon mein aen tarsey
ye ujiyaaree ang lagaa ley
jeevan mein phir ronaa kyaa rey
bhor bhayee ee ee ee
bhor bhayee uthh jaag rey bandey aey ae
rain gayee ab sonaa kyaa rey ae
bhor bhayee
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 : |
5697 | Post No. : | 18215 |
“Hamaara Watan”(1956) was produced by Ramesh Vyas and directed by Jayant Desai for Navkala Niketan, Bombay. The movie had Bina Rai, Premnath, Agha, Ram Singh, S N Tripathi, Kumkum, Jagdish Kamal, Ramesh Sinha, S Azeem, Habeeb, Nazeer Kashmiri, Md Rafi, Md Ali, M. Sandow, Hanuman, Md Hussain, Bela Sarkar, Jaya Rao, Maya Das etc in it.
This costume movie had ten songs in it that were penned by three lyricists. Asha Bhonsle’s voice was there in as many as eight of these songs.
Two songs from the movie (both sung by Asha Bhonsle) have been covered in the past.
Here is the third song from “Hamaara Watan”(1956) to appear in the blog. The song is sung by Lata Mangeshkar. It is the only song sung by her in the movie. S H Bihari is the lyricist. Music is composed by Hemant Kumar.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this melancholic song.
Song-Chaand ko daagh lagaa chaand hamaare aajaa (Hamaara Watan)(1956) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Hemant Kumar
Lyrics
lagaata hai zamaana boliyaan
yoon hamko tadpa ke
sare baazaar lut’tee hai
mohabbat dekh le aake
aaja
aaja
aaaaaja
chaand ko daagh laga
chaand hamaare aaja
aaj aankhon ka har ik ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
pyaar kee laaj na lut jaaye bachaa le aa ke
hamko saiyyaad ke panje se chhuda le aa ke
bahte hain aankhon se ab ashqon ke dhaare aaja
aaj aankhon ka har ek ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
aandhiyaan loot na len haay mere husn ka ??
bujh na jaaye kaheen ashko se mohabbat ka charaag
gham se dil choor hai
ashqon ke sahaare aaja
chaand ko daagh laga
chaand hamaare aaja
aaj aankhon ka har ik ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
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 : |
5639 | Post No. : | 18130 |
“Police” (1958) was produced by Deep Khosla and Pradeep Kumar for Deep & Pradeep Productions and directed by Kalidas (Pradeep Kumar’s brother) for Deep & Pradeep Productions, Bombay. The movie had Madhubala, Pradeep Kumar, Anwar Hussain, Nadira, Dhumal, Raj Mehra, Tun Tun, Deep Khosla, Rajan Kapoor, Jagdish Kanwal, Om Prakash, Neelofer etc. Bhagwan and Mirza Musharaf had made guest appearances in the movie.
“Police” (1958) had seven songs in it. Five songs have been covered in the blog.
Here is the sixth song from the movie to appear in the blog. The song is sung by Hemant Kumar. Majrooh Sultanpuri is the lyricist. Music is composed by Hemant Kumar.
The song is picturised on Pradeep Kumar, Madhubala, Om Prakash, Dhumal, Kusum Thakur etc.
Lyrics of the song and other details were sent to me by Prakashchandra.
Audio (Full)
video (Poor quality)
Song-Dil per ye kaisa toone khanjar maaraa re (Police)(1958) Singer-Hemant Kumar, Lyrics-Majrooh Sultanpuri, MD-Hemant Kumar
Lyrics(Provided by Prakashchandra)
dil par ye kaisa toone khanjar maaraa rey
o o o o o soneyaa aaaa..aa..aaa
hoke ghayal roye dil bechaaraa rey ohho
dil par ye kaisaa toone khanjar maaraa rey
ohho o o soneyaa..aa..aaa
hoke ghayal roye dil bechaaraa rey hayye
dil par kaisa toone khanjar maaraa rey
kiyaa jaadoo..ooo…oo
matwaali
haayye haayye
nainowaali
hho ho
matwaali naainonwaali kiyaa jaadoo ooo ooo
nahin kaaboo oo oo oo
tere sar ki qasam
mujhe dil pe sanam
nahin kaaboo oo oo oo
aankhon se ye kaisa
kiyaa ishaara rey haayye ae
dil par ye kaisaa toone khanjar maaraa rey
o o o hho o soneyaa aaaa..aa
hoke ghayal roye dil bechaaraa rey heyye hhey
dil par ye kaisa toone khanjar maaraa rey
ye nigaahein..aen..aen
tauba tauba
meri tauba
tauba tauba meri tauba
ye nigaa..aaahein..aen aen aen
bharoon aahein..aen aen aen
mosey chalaa nahin jaaye
teri latt uljhaayein
meri raahein aen aen aen
ye zulfein ye palkein
ye mukhda pyaaraa rey haayye
dil par ye kaissaa toone khanjar maaraa rey
o o hho o ho o o soneyaa aaaa..aa..aaa
hoke ghaayal roye dil bechaaraa rey hhey hhey hey
dil par ye kaisa toone khanjar maaraa rey
zara aanaa aa…aaa…aa
main to giraa o giraa
o giraa aake mujhko bachaanaa aaa..aa..aaa
toone jaanaa aaa…aaa..aa
toone kiyaa
hmm
toone toone
wwaaahhaa
haan haan toone kiyaa mujhko deewaa..aanaa..aaa…aaa
o zaalim o qaatil
de ja sahaaraa rey hheyye ae
dil par ye kaissaa toone khanjar maaraa rey
o ohho o o hho soneyaa aaaa aa…aaa
hoke ghaayal roye dil bechaaraa rey heyye
dil par ye kaisa toone khanjar maaraa rey
o hho hho oo ohho hho o soneyaaa
Sun le piya piya piya
Posted on: December 17, 2023
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.
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Blog Day : |
5630 | Post No. : | 18119 |
‘Police’ (1958) was produced by Deep Khosla and Pradeep Kumar under the banner of Deep & Pradeep Productions and was directed by Kalidas (Pradeep Kumar’s brother). The cast included Madhubala, Pradeep Kumar, Anwar Hussain, Nadira, Dhumal, Raj Mehra, Tun Tun, Deep Khosla, Rajan Kapoor, Jagdish Kanwal, Om Prakash, Neelofer with guest appearances of Bhagwan and Mirza Musharaf.
Writer-actor, Deep Khosla and Pradeep Kumar joined together to set-up a film production company, Deep & Pradeep Productions and produced ‘Ek Jhalak’ (1957), ‘Ek Shola’ (1958), ‘Police’ (1958) and ‘Do Dlion Ki Daastan’ (1966 – delayed release). It appears that after the box office failure of ‘Police’ (1958), Deep Khosla and Pradeep Kumar parted ways. While Deep Khosla formed his new film production company, Deep & Sandeep Production which produced ‘Batwaara’ (1960), Pradeep Kumar produced ‘Mitti Mein Sona’ (1960) under his own production house, P.K. Films.
The story of ‘Police’ (1958) is as under:
A police inspector who is on duty of unearthing a gang of jewel thief is shot dead by by an unidentified criminal. The police have doubt that it could be handiwork of an ex-criminal known as Rangooni (Pradeep Kumar) who, after completing his jail term, has migrated to Singapore about 5 years back. As per Singapore police information, Rangooni got killed in a car accident some years back. But as per Mumbai Police information, a person who resemblance Rangooni is traveling to Mumbai from Singapore. So, Mumbai Police keep a tag on him to see whether he is the same ex-criminal.
As soon as the flight from Singapore lands in Mumbai, he is confronted by Inspector Mehra (Raj Mehra) at the immigration counter who suspects that Rangooni is back in Mumbai for some criminal activities. He leaves by warning Rangooni that if he is found doing criminal activities, this time he will be in more trouble. Rangooni is amused by Mehra’s statement.
A grand dance party is arranged in honour of a visiting royal couple who had also travelled from Singapore in the same flight Rangooni has travelled. In the party, Police Inspector Mehra and his men are present in disguise. So also, the boss of jewel thief gang, Ramesh (Anwar Hussain) with his disguised henchmen. Rangooni also attend the party. During the song and dance presentation, light goes off and the costly necklace worn by the royal queen is stolen. Inspector Mehra suspects Rangooni for the theft of necklace, However, nothing is found on him. As it is known later, it is the handywork of Ramesh who has removed the neckless from queen’s neck when lights went off.
Next day, Inspector Mehra visits Rangooni’s house to take him to the police station for questioning. Rangooni runs away in the pretext of changing his cloths. There is a long chase between police jeeps and Rangooni’s car during which the car driven by Manju (Madhubala) obstruct him. Finding an opportunity, Rangooni takes Manju car by force to escape and Manju takes Rangooni’s car to follow him. Police continues to chase Rangooni’s car but find Manju driving, She is taken to the police station where she comes to know that it was Rangooni who has taken her car. Manju is quite excited about Rangooni because if he arrested, the news would give her a lot of publicity in the newspapers. Rangooni is in the police station but meets a police officer who is his boss. From their talks, it becomes apparent that Rangooni is actually an under-cover agent who, taking advantage of his look-like criminal Rangooni, is trying to mingle with members of the jewel thief gang led by Ramesh to unearth their operations and bring them to justice.
A realisation dawns to Ramesh that since the association of Rangooni with his gang members, a series of his heist attempts had failed. Ramesh lays a trap in a dance show where Rangooni is expected to attend. A sharpshooter in the guise of a musician tries to shoot him but Rangooni escape the death. Instead, he is caught by Ramesh’s henchmen and brought out the gang’s hideout. He is kept in a room with time bomb to eliminate him. However, the timely help from Manju facilitates his escape from the hideout.
In the meanwhile, Manju is kidnapped to demand ransom from her father. With her, Ramesh tries to escape from Mumbai with his gang members in a boat. But Rangooni is already waiting for Ramesh in the boat to thwart his escape. After a long fight between Rangooni and Ramesh on the boat, Ramesh is overpowered. The police enforcements come and arrest Ramesh and his gang members.
In the end, Manju is handed over to her father, Rai Bahadur (Om Prakash) who gives his consent to Manju and Rangooni to be united.
The film is supposed to be a comical suspense thriller. But the film does not have much of these ingredients worth mentioning. The suspense of Rangooni to be a police under-cover agent gets known to the audience much earlier than warranted. Surprisingly, the film ends with a full-pledged romantic song picturised on Pradeep Kumar and Madhubala. While watching the film, some time I get a doubt whether the film’s scenes were correctly sequenced while converting from the film to VHS tapes and then to VCD.
‘Police’ (1958) had 7 songs written by Majrooh Sultanpuri and set to music by Hemant Kumar. Four songs have already been covered on the Blog. I am presenting the 5th song, ‘sunle piya piya piya dhadke jiya jiya jiya’ which is rendered by Geeta Dutt and Hemant Kumar. The song is picturised on the two main dancers. The female dancer, I guess, is Meena Fernandes. The male dancer is the Choreographer, Surya Kumar. In this song, all the main actors of the film – Pradeep Kumar, Madhubala, Anwar Hussain and Nadira are seen. The person whom Madhubala sees through curtains who later become a sharpshooter replaceing a violinist towards the end is Jagdish Kanwal. The song has a long prelude as well as postlude music of over one minute each.
The background to this song is that Ramesh (Anwar Hussain) has planned to trap Rangooni (Pradeep Kumar) through Manju (Madhubala) who is Rangooni’s sweetheart, to kill him through his sharpshooter when the dance reaches the crescendo. Of course, Rangooni survives as Manju creates chaos among the musicians which disturbs the aim of the shooter.
Video Clip:
Audio Clip:
Song-Sun le piya piya piya (Police)(1958) Singers-Geeta Dutt, Hemant Kumar, Lyrics-Majrooh Sultanpuri, MD-Hemant Kumar
Chorus
Lyrics :
sun le piya piya piya
dhadke jiya jiya jiya
sun le piya
dhadke jiya
ye milan bura hai
kyunki laage hai bhalaa bhalaa
sun le piya
dhadke jiya
ye milan bura hai
kyunki laage hai bhalaa bhalaa
sun le piya piya piya
dhadke jiya jiya jiya
bhanwraa pukaare kali aa
aa aa
baahon ke sahaare chali aa
aa aa
bhanwraa pukaare kali aa
aa aa
baahon ke sahaare chali aa
aa aa
pyaar se youn na dar
main jo hoon gham na kar r r r r
pyaar se youn na dar
main jo hoon gham na kar
ye milan bhalaa hai
kyunki laage hai buraa buraa
na na na ye milan buraa hai
kyunki laage hai bhalaa bhalaa
sun le piya piya piya
dhadke jiya jiya jiya
jaane de ye ghaaten sataa na
na na
meethi meethi baaten banaa na
na na
jaane de ye ghaaten sataa na
na na
meethi meethi baaten banaa na
na na
chhod bhi ye adaa
maan jaa dilrubaa aa aa aa aa
chhod bhi ye adaa
maan jaa dilruba
ye milan bhalaa hai
kyunki laage hai buraa buraa
na na na ye milan buraa hai
kyunki laage hai bhalaa bhalaa
sun le piya piya piya
dhadke jiya jiya jiya
ankhiyon se nashaa pilaa laa
laa laa
achha to nigaahen mila laa
laa laa
ankhiyon se nashaa pilaa laa
laa laa
achha to nigaahen mila laa
laa laa
maan le jo kahe
achha jee youn sahi..ee ee ee ee
maan le jo kahe
achha jee youn sahi
chaal wo dikhaati hoon
ke aaye pyaar kaa mazaa
chaal wo
dikhaati hoon
ke aaye pyaar kaa mazaa
- In: "Aangan" song | "Badhhaayee" song | Asha Bhonsle songs | Birthday song | Celebration Song | Childbirth Celebration Song | Duet | Guest posts | Hemant Kumar - Asha Bhonsle duet | Hemant Kumar songs | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1955 | Yearwise breakup of songs
- Leave a Comment
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 : |
5535 | Post No. : | 17993 |
Today’s song is from a religious film Prabhu ki Maya (1955).
This film was made by the well known Filmistan studios. It was directed by Vithaldas Panchotiya and the Music Director was Ravi Shankar, for whom it was his only second movie as an independent composer. He went on to do 112 Hindi films composing 796 songs. He also sang 21 songs in 18 films and in addition wrote66 songs in 21 films as a Lyricist. So, what remained was Acting and Directing a film, which he never tried ! He also had a stint as an MD in Malayalam Films with the name ” Bombay Ravi “.
Mythology and Religion are two things which are very popular throughout the world. Not only in India, but all over the world, except probably the Communist countries, where Religion is considered as a Tablet of Opium ! There was a time when many Mythological and Religious films were made in India, but these days this Genre Seems to have shifted to television and almost all Indian language TV stations air the Mythological and Religious serials. The kind of TRP Ramayan and Mahabharat got on TV indicates that the medium has changed but the response of Indians has not changed towards religion. It is not just we Indians who like this Genre, even in older times Hollywood used to make such films. During my World Tour in the early 2000, I had noticed that even in Japan and the Far East they made their Mythological and Religious films.
Fundamentally, Indian people are simple people who are God fearing and God loving. Indian public never gets tired of the routine.Films on Love Triangle are being made since 1931 till today though by repackaging them differently in keeping with the changing times. Though the final outcome is predictable and very well known to the viewers, these films still celebrate jubilees in the Theatres !
Similarly, all Mythological films are based on the principle of ” Satyamev jayate” or “Victory of good over the Evil”. Each film presents it in different ‘dressing’ and different routes. The fights of the Gods and the Rakshasas are very interesting, because of lot of firework (literally and figuratively), Trick scenes and unimaginable get-ups of the Rakshasas ( like only one eye on the forehead, or half animal body or simply an ugly looking Giant etc ). In olden days, I remember that there used to be loud rants of “Jai Shri Ram ” or ” Har Har Mahadev” within the theatre at the end of the movie- depending on who the main God of the film was.
But then, who are these Asurs, daitya or the Rakshasas ?
Their literary origins can be traced to Vedic sources through Hymn 87 of the tenth mandala of the Rig Veda. Here they are classified amongst the Yatudhanas, demonic creatures who consume the flesh of humans. It is said that Rakshasas were created from the breath of Brahma when he was asleep at the end of the Satya Yuga. As soon as they were created, they were so filled with bloodlust that they started eating Brahma himself. Brahma shouted “Rakshama!” (Sanskrit for “protect me!”) and Vishnu came to his aid, banishing to Earth all Rakshasas (thus named after Brahma’s cry for help).
The tracing back to Kashyapa is not necessarily a later edit, but is not mentioned in the dense Hymns of the Vedas because of poetic choice. The knowledge of the Rakshasa lineage traceable to Kashyapa may have been known at the time of the compilation of the Vedas, but lineages are altogether foreign from the style of the Vedas and thus would have appeared out of place. That is why the Puranas and Epics elaborate on lineages, but Vedas do not.
Kashyapa was married to the thirteen daughters of Daksha, among them were Aditi, Diti and Danu.
His sons with Danu are the Danavas
His sons with Diti are the Daityas
His sons with Aditi are the Adityas, who are considered Devas and are also called Suras.
Rakshasa were most often depicted as ugly, fierce-looking and enormous creatures with two fangs protruding down from the top of the mouth as well as sharp, claw-like fingernails. They are shown as being mean, growling like beasts and as insatiable cannibals who could smell the scent of flesh. Some of the more ferocious ones were shown with flaming red eyes and hair, drinking blood with their palms or from a human skull (similar to vampires in later Western mythology). Generally they could fly, vanish, and had Mayaawi shakti (magical powers of illusion), which enabled them to change size at will and assume the form of any creature.
Aside from its treatment of unnamed rank-and-file Rakshasas, the epic tells the stories of certain members of the race who rose to prominence, some of them as heroes, most of them as villains. In the world of the Ramayana and Mahabharata, Rakshasas were a populous race of supernatural humanoids. There were both good and evil rakshasas, and as warriors they fought alongside the armies of both good and evil. They were powerful warriors, expert magicians and illusionists. As shape-changers, they could assume various physical forms, and it was not always clear whether they had a true or natural form. As illusionists, they were capable of creating appearances which were real to those who believed in them or who failed to dispel them. Some of the rakshasas were said to be man-eaters, and made their gleeful appearance when the slaughter on the battlefield was at its worst. Occasionally they served as rank-and-file soldiers in the service of one or the other warlord.
As far as Religious films are concerned, there is no dearth of stories. During the Bhakti Movement in India, right from the 6th century it originated in Tamilnadu and spread all over. Its peak period was between the 15th and 17th Century. Though it was primarily to invoke the feelings among the natives to fight aggressors to save our culture and religion, it also provided abundant material for books, dramas, Kirtans and finally films, getting inspiration from the lives of the saints of this period. Today’s film is a Religious film mixing a little of Mythology. The story of the film ” Prabhu Ki Maya” (1955) was…..
A landlord is weeping as his son has died of Snake Bite. By coincidence, Swami Atmanand is passing by. Seeing the plight of the father, he revives his son and advises the landlord not to get involved in worldly affairs and lead a detached life like Shukdev. Upon asking about the story, Swami tells the story.
Instigated and coaxed by Narada, Parvati goes to Shiv ji and requests to learn the secret of Amaratva (immortality),so that she can become Amar too. Shivji,in a good mood then, narrates the Tatva to her, but in the long discourse Parvati falls asleep and the rest of the tatva is heard by a small bird-Shukdev. When Shiv ji learns about this, he wants to destroy Shukdev. Terrified, Shukdev enters the open mouth of Vyas Muni’s wife, when she is yawning. Once inside ,he remains safe for 12 years.It takes a birth and immediately flies away in search of Bramhagyan. Narada takes him to Vyas Muni,who teaches him and then takes him to King Janaka. While in transit Shukdev sees a Lion, killed by king Parikshit get salvation by listening to Shrimad Bhagwat. A thirsty King Parikshit goes to Shyamak muni’s ashram and asks for water. Since the Muni is in samadhi, he does not respond,so irritated, king Parikshit puts a dead snake in his neck. This is seen by Muni’s son and he curses Parikshit. To get rid of the curse he goes to Ganga maiya who sends him to Shuk Dev. After listening to Shrimad Bhagwat from Shukdev, King Parikshit goes to heaven freed from the curse.
The film emphasises the need for everyone to read Shrimad Bhagwat daily for total salvation.
The director of this film was Vithaldas Panchotiya ( Born 15 October 1906-Died 2 October 1987 ). Except those readers, who have a knowledge of early era Hindi films, it is unlikely that other readers might have even heard this name. In the early era, when the studio system was firmly established, the artistes employed by the studio had no specific duties. Anybody and everybody had to do what was needed by the company. Due to this many capable artistes became all rounders in film making.
Vithaldas Panchotiya was certainly one such person. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !
Born in October 1906 in Vadnagar in Gujarat, he followed his father’s footsteps. His father worked in stage dramas and toured with the drama company. From the age of 8 years Vithaldas started acting in dramas. Later he joined Calcutta’s Alfred Drama company, owned by Madon Theatres Limited. He worked on a salary of Rs. 35 pm. While working in dramas, he established his own Gujarat Film company and produced 12 silent films in 10 years. Vithaldas first acted in the silent film ‘ Dhruv charitra’-1921. He learnt dance and music too. He acted , directed, sang songs and gave music also. He acted in Talkie film ” Muflis Ashiqe”-1932, claimed to be India’s first comedy film. He acted, sang and composed music for this film.
Being a staunch Gandhian, he used to participate in rallies etc. Some of his films were Hindustan-32, Insaf ki Tope-34, Gaibi Gola-35 ( he was the writer and the director too.He gave a break to Baby Noorjahan in this film.), Khudai Khidamadgar-37 aka Garib ki Tope, Takdir ki Tope-38 etc . As per one source, he acted in 35 films, directed 10 talkie films, sang 8 songs, gave music to 1 film and wrote Lyrics to 2 films. Additionally story, dialogues and screenplay writing were also done by him. Some of his films were, Shaikh chilli-37, Khush naseeb-46, Prabhu ki maya-55, Ghar ki numaish-49, Karmaveer-38, Raman-54, Jagriti-54, Hum sab chor hain-56, Basant 60, Bhagvat mahima etc.
I find it very difficult to know exactly how many films he did in various capacities in the 1930s, as there are conflicting claims by him and Master Fida Hussain. In a few cases the details in HFGK and what he claims, gets contradicted. Some of his films in the 40s are Ramanuj-43, Giribala-47, Grihalaxmi-48, Ghar ki Numaish-48 ( released only in 1962, with the title ‘ Jai ho muhabbat ki ‘ )
Thanks to information and statistical data provided by Shri Harish Raghuwanshi ji of Surat, we know that his Filmography consists of a total 11+ 26 films. The break up is-
11 silent films
25 Talkie films as Actor and 1 film as a writer only.
9 films as a Director
2 films as Lyricist and
2 films as Music Director
As per Muvyz data, he sang 37 songs in 8 films.
From 1951 to 1960, he did 13 films- mostly ( 9) for Filmistan. He directed 2 of them. After 1960 his work was reduced. The death of his 3 sons broke him emotionally. As a true Gandhian, it was his dream to make a film- Gandhi Sangram- on Mahatma Gandhi. He had done all the spade work and the Muhurat of shooting was also done on 2-10-1987, The Government had promised finance. Even Rajiv Gandhi promised him that. However nothing came to him and he died on 30-10-1996, with his dream unfulfilled.
His daughter Shradha used to work in Gujarati films. She too died in a Train accident in 2000. Her daughter Deepshikha is an actress.
Today’s song is sung by Hemant Kumar, Asha Bhosle and Chorus. Enjoy the song….
Audio
Video
Song-Chalo dene ko badhaai guru aangan mein (Prabhu Ki Maaya)(1955) Singers- Hemant Kumar, Asha Bhosle, Lyricist-Saraswati Kumar Deepak, MD- Ravi
All chorus
Female chorus
Lyrics
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae
dekho din albela aaya re
sabhi ke man bhaaya
kirnon ne raas rachaaya re ae ae
dekho din albela aaya re
aaj angna mein man harshaaya re
chalo dene ko badhayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae
man ka moti jag ki jyoti
teen lok se nyaaraa
bhaag jaaane sukh barsaane
aaya sabka pyaara
dwaar dwaar par baji badhaayi
chau dishaaon ne gaaya re
din aaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
angna mein jhan jhan chhanke paayaliya
baadal bajaaye mridang re
ae ae ae
san san pawan ki baaji ??
aa aa aa
?? gagan ke rang re
ae ae ae ae
solah baras mein aasha ne aakar
ye shubh din dikhlaaya re ae ae
din aaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
shubh din aaya
sabhi ke man bhaaya
kirnon ne raas rachaaya re ae ae
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
o o o o
aao hil mil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
- In: "Friendship" song | Blog century song | Century songs for the blog | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Hemant Kumar songs | Lyrics contributed by readers | Manna Dey songs | MD-Singer Song | Post by Sudhir | S Balbir song | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1966 | Yearwise breakup of songs
- 10 Comments
This article is written by Sudhir, 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.
This is the 17,900th song on our blog.
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Blog Day : |
5477 | Post No. : | 17900 |
Pray, what may be the most dear thing in this life?
Something that will never grow old, or stale. Something that will never be lost in life. Something that will only grow fonder with the passage of time. What is that thing?
Memories of Happiness. The most wonderful possession a person can have. The most valuable treasure that will last a lifetime. A treasure that will never diminish. It will only grow with the passage of time. For all the happy moments we experience and we relish, as the moments pass, they become memories. To stay in our treasure chest of memory cells, forever. To be visited and revisited over passing years, the thoughts of the happy times that are in the past now, bring back smile to the lips, a twinkle in the eyes, a fond quickening of the heart beats, as these happy memories flash on our mind’s screen, as and when.
These Memories of Happiness get created when one passes through unforgettable moments of happiness. Especially moments those are enjoyed with people who are near and dear to the heart – dearly loved ones, family and friends. And this basket of Happiness Memories keeps on filling up more and more.
Sometimes rare events happen in life that bring more happiness to the mind. About six weeks ago, I was part of a gathering of very dear friends. It was a rare and opportune get together. And I came away from this meeting with my arms and mind loaded with more Memories of Happiness that I felt I could accommodate in my memory banks. But these memory banks are unconditionally expandable. They create more space to store, the more we bring in to store.
The moments were rare, the gathering was joyful and the memories of that day are divine – well, almost. The occasion was the get together of the Bandwagoneers of the ASAD blog. Many travelled long distances to be present, to participate and to share. All of us keep in touch on a fairly regular, almost daily basis otherwise. But actual face meetings, where one can see and touch and hear the sound live – such occasions have been very rare. For one reason that the entire team is so spread out across the nation that it is not easily feasible to make such meetings happen.
But make it happen this time, we did. It seems that with the passage of time, our options and opportunities to travel are actually becoming more and more limited. I remember Atul ji used to visit Delhi, if not frequently, but often, for his work at the Railways Ministry in Delhi. Likewise, Mahesh ji has earlier traveled to Delhi on work a couple of times. I remember pre-pandemic days when Bakhshish ji and I would be visiting Bombay at least twice a year or so. Some things changed with the pandemic. The necessity to telecommute brought in rapid advancement in networking, and the connectivity requirements brought in many a software that support virtual meetings and conferencing across geographies. The communication patterns changed and transitioned so much that the need for humans to travel out physically has been reduced. And this physical transformation also fuelled a mental transformation, wherein starting from professional work and permeating into personal lives also, people have started preferring remote conferencing.
Ah but, where the matters of heart are involved, where the friends and family need to converse, there is still this urge to be able to meet in person and have a face to face interaction.
And so it finally took shape and happened. For Bakhshish ji and myself, coming to Bombay is such a fulfilling and a rejuvenating experience. There is a large friend circle, and there is an interaction need that it seems only natural that we would like to visit there. Circumstances prohibited us from travelling for many years, but then the urge for meeting friends in person just grew over the past few months. Once we could firm up travel plans, after that the flow of events simply took shape and took over. It is just like one says – you resolve to get something done, and just that resolve makes so many things happen to facilitate desired endeavors and activities.
After a flurry of back and forth messages, going up and down, both on the networks and in terms of actual planning, we finally zeroed in on the schedule and venue. Information was shared with all concerned members of the bandwagon, and it was then just a go.
Friday, the 2nd of June, the meeting time set at 11 am, and we were to converge at dear Arun ji’s place at Four Bungalows. Team members consented to join, and expectations were set up with eagerness. And the icing on the cake was the surprise arrival of some, that added so much more joy.
Bakhshsish ji and I were staying with Subhash Bhai at Matunga. Time to reach Arun ji’s place was 11 am. Subhash Bhai agreed to join us, and so we three travelled to Andheri and on to Versova. It was a kind of unstated decision that since Bakhshish Singh ji was accompanying us, our target to reach Arun ji’s place should be 12 noon. 😀 And so we arrived precisely at 12 noon, give or take a few minutes (as is chalta hai 😉 ).
As we rang the bell, with the expectation to see a round bespectacled face with a big smile, the opening turned into a huge pleasant surprise. We did see a bespectacled face welcoming us with a beaming smile, albeit this face belonged to Nalini ji. And that was the big happy surprise because in earlier communications, she had expressed inability to join and had declined the invite. And this big happy surprise set the ball rolling for the many hours of togetherness that followed.
Entering the apartment, we found practically all expected attendees to be present. There was a lot of cheer and handshakes and hugs and back thumping all around. It is always such a pleasure to meet Arun ji, for a there is a special feeling in my heart for him. When I meet him, I am always so comforted to see his smiling face and smiling eyes above the thick bushy moustache that I immediately have to hug him. So after the joyful Nalini ji surprise to start with, I had the hug time with Arun ji, and then we proceed into the apartment.
Folks that were already present – Sadnand ji, Nitin ji, Avinash ji. And Satish ji. It is always such a pleasure to meet Sadanand ji with a big smile on his face, always ready with a crack to make you laugh. Nitin ji is a dear person to meet as always. And then the first time face meeting with Avinash ji. Avinash ji was supposed to have joined one of our earliest gangouts in Bombay, but inclement weather kept him confined that time, and he could not travel. But make it he did, this time. In fact he had arrived the previous evening and had stayed with Arun ji.
I mentioned these three bandwagoneers together, for the reason that all three have faces that are almost spherical with partial balding already taking roots on the pate. And then I come to Satish ji. Dear dear Satish ji, a person that I have been so eagerly looking forward to meet. In fact, I was also very much wanting to and almost half expecting to see Pradeep Shetty ji also. Ah but yes, he did make a virtual appearance later in the proceedings. I will come to that.
There is a special bonding I feel with these two gentlemen, whom I have not met in person before. But both are very special for me, in that there is a daily very special greetings exchange with these two very early in the mornings. The timing and connect is so synchronized and so definite like the sunrise itself, that at some earlier time, I mistakenly addressed them by the other person’s name. well, it has not happened now of late. And so, yes, meeting with Satish ji was such a special thing for me that day.
The quorum is always complete with the arrival of Bakhshish Singh ji (for obvious reasons) no matter how many are present or will join. And so we settled down and the conversations flowed. We were gathered that day with an absence of any agenda – a conscious decision that Arun ji had discussed earlier. And so we were there, and waiting now for the other expected joinees.
We were waiting for three very special people to come. The most important – Atul ji, our fearless leader. He had informed earlier that his flight was being rescheduled by the airline and he was expected almost an hour or so later than his earlier communicated schedule. So he was the next to arrive, reaching directly from the airport.
Another person who has a very special place in my heart. All for the manner in which he manages all the activities of the blog. Seems to completely indefatigable and tireless, with such an unfaltering focus on the continued success of the blog. And the self evident performance is there for all to see. In an age and time of continuing transformations of activities and fortunes of online endeavors, ASAD stands out as a bright beacon that I daresay, is an envy of many other bloggers. We shall soon be celebrating the 15th anniversary of sustained activity, which could well be a celebrated record in comparison to similar online efforts. And we continue to merrily chug along and keep conquering newer and higher milestones. All the due credit goes to Atul ji and his tireless stewardship of this musical bandwagon. It is an honor to be associated with him and this blog.
Personally, I had a agenda of my own, to address two items related to the blog. But for that I needed to have a go ahead from Atul ji. So as soon as he came in, and after the meetings and greetings, I requested a separate five minutes from him, and we conversed in the adjoining room. I explained to him what was on my mind, and he readily agreed. I said want to talk about this with the group, with his permission, and he said yes once again. I will mention these items little later in this write up.
Now we were waiting for Peevesie and Peevesie’s Hubby. In real life, it is Vaidehi and Ishan. Vaidehi had been in communication with her mom since morning. They were both attending some important work related discussions, and had promised to join after that. Only that their timing kept on getting delayed. Then Arun ji suggested that we should take lunch, and they can join as soon as they arrive. As usual, I was requested to begin and to continue holding the fort (I mean the plate) till their arrival and so give them company too. A matter after my own heart so I readily accepted the honor.
So the lunch was served. Arun ji mentioned the great help that had been provided by Nalini ji, in sorting out the menu, and Avinash ji, in helping to manage the logistics. Due to other family commitments that were in conflict that day, the Event Management Company of Arun ji’s daughters, was not able to participate. But nonetheless, the lunch arrangement was well planned, well laid out and a roaring success. I can definitely say that from my perspective. 😀 The innovative idea of Nalini ji to suggest and make arrangement for Aam Ras, was a definite high point of the lunch.
And so the lunch proceedings happened. I held on to my plate and after some wait, the expected film couple arrived. The first order of the agenda after their arrival and intros and greetings, was to briefly celebrate Arun ji’s upcoming birthday, which was then just a week or so ahead. Vaidehi had brought a little gift and flowers, and we all sang the Happy Birthday song for the birthday boy.
Lunch proceedings continued with yours truly holding the fort and giving company to the newest addition to the gathering.
Once we settled down after lunch, and with permission from Atul ji, I asked for attention of the gathering for my agenda items. The first item was presenting two hard disks to the group, one to Atul ji, and one to Arun ji to keep as a sharing item with folks in Bombay. I explained to the gathering about the contents of these disks. Our blog had recently complete 17,800 posts. The hard disks contained ALL the 18,000 plus songs that have been posted on our blog since initiation. The songs are arranged in three ways – serially by post number, by film name, and by year and film name, for ease of access. This collection is important since the on the blog, all the songs may not be always available, as the online links keep on changing over time.
Then I proceeded to talk about my second agenda item. This was concerned with some feedback about the blog that I had received and I wanted to share with all group members. So I told the gathered members, the background and the details.
Earlier in the year, in the month of February, an exhibition had been arranged in Delhi by a friend, Ravikant ji. Ravikant ji is an Associate Professor at CSDS (Center for Study of Developing Societies) in Delhi. His main area of research interest is art and culture, which includes films and music. In Delhi, we are actively associated in working together in this area. He had organized an exhibition in February (21-28) titled ‘Intermediations’. The focus of this exhibition was the interplay of the film medium with the print medium and the broadcast medium. The tag line for this exhibition was ‘Panna, Parda, Baaja’, referring to print media, cinema and radio. The main theme of this exhibition was archiving. Every day in the afternoon/evening we had talks and panel discussions. I too was invited to be on the panel on one of the days. And I had talked about the archiving of Hindi film music from the perspective of our blog. I had described how our blog was set up, how it is sustained, and what are our singular achievements. I specifically mentioned how Atul ji set up this activity, and the manner in which it is being sustained. I also told the audience about Arun ji, about his notebooks, and his continued effort to research and gather information related to people and films. All this in recognition the archiving objective of this major entertainment media in our country.
Ravikant ji had insisted that I should attend all sessions. One significant outcome of this interaction was that I met with a lot of people for the first time. People who are managing other blogs and archives, people who are writers and research workers in related fields, people who are anchors and presenters on AIR and other music shows etc. It was very exhilarating experience to be able to meet so many likeminded people all at once.
And the fun part of my introductions with these people – no one knew me of course, by name. But when I mentioned that I am associated with AtulSongADay blog, my goodness, their reactions were unbelievable. Most people knew of our blog. Most people continuously use our blog as a reference archive. Most people are in awe about the manner in which this blog is scaling newer and newer heights. Everyone greatly praised our effort, especially our team work once I mentioned that this is a group working together. People were not familiar with specific names, but some people did mention both Atul ji and Arun ji by name.
So this was a very uplifting and satisfying experience for me. But then, there was also some feedback that some friends mentioned. Number one – that it appeared that we were posting more to capture some number milestone, at the cost of content of the posts. And number two – that of late, the readers find very little discussion about the songs themselves. I expressed this feedback and the sentiment to the present group members and there was a brief discussion on this topic.
I think these are important inputs for all of us. It seems that the people who are visiting the blog are looking for more content, that simply getting the demographic info about the song and the film. I found it important enough to bring this feedback with me to this gathering of our group. I had first mentioned this to Atul ji in my brief one-on-one conversation with him, and then with his approval I shared with the rest of the team.
All this while, as the birthday song was being sung, as the hard disk was being presented, as the conversations were in progress, a lot of photographs were taken of the day’s proceedings. Especially Ishan, who is an expert with camera, captured a lot of images. As did many of us with our phone cameras.
As the afternoon moved on, Vaidehi and Ishan excused themselves and took leave, as they had more meetings to attend related to their work. It is such a pleasure always to meet the youngest member of the group. And this time, it was in accompaniment with interest earned – the latest addition in form of Ishan. A thorough gentleman and a very friendly person – it was a real pleasure to be introduced to him. Goodbyes were made with Vaidehi promising to return to the return to blog with more of her pen(wo)manship.
Shortly thereafter Satish ji announced that it was time for his flight and that his cab was arriving in a few minutes. There were more handshakes and hugs as he stood up to depart. A quiet person, with such a pleasant smile and an affable presence, it seems so comforting to be in his company. I hope that we plan to meet again very soon.
Then Atul ji announced that his flight time was at hand, and that his daughter had booked a cab for him to go to the airport. So with due goodbyes and handshakes etc. Atul ji departed for the airport. A wonderful day of meeting great friends was now coming to a close. The remaining group members, we talked for some more time. As these conversations were going on, a video phone call came. It was Mahesh ji calling in to connect into the group, and with him, Pradeep Shetty ji also was there. I have mentioned earlier about wanting to meet Pradeep ji. And so this call was a heaven sent answer to my thoughts. The network was creating difficulty but still we were able to exchange greetings and have a live conversation – one step further from exchanging morning greetings.
Evening was closing in, and we decided to call it a day. There still is so much to talk about and share. Music has this effect on people, and that is the glue that keeps this group together. And the heart expressed the desire that these meetings should happen more often. There already has been a big gap due to other circumstances.
It was a wonderful day of meeting so many good friends all under one roof. As we were doing the good byes for the day, my mind working over the day’s happy proceedings, coined the a new realization. That we were departing from Arun ji’s home with a wonderful ton of Memories – of Happiness. Gosh, what a memorable day it had been, spent in the company of so many dear friends one continuously communicates with on a daily basis, and today it was as if an assembly designed and crafted in heavens.
And these memories are now forever tucked into our mind’s storage, to be revisited as and when the mind felt it to be. A day that will never be forgotten. Rather to put it straight – a day that is forever now one of my most wonderful Memories of Happiness.
The song I present today is from the 1966 film ‘Biwi Aur Makaan’. The lyrics are by Gulzar and music is from the mind of Hemant Kumar. The singing voices are those of Manna Dey, Hemant Kumar, Balbir and Ghulam Mohammed. On screen, the song is picturized on a group of ‘जिगरी दोस्त’ whose motto is ‘all for one, and one for all’. The group consists of Mehmood, Biswajit, Keshto Mukherjee, Ashish Kumar and Ajit Chatterji. The story line deals with the problem of young unmarried men trying to get rental accommodation in a world where the landlords prfer to rent out premises to married couples only. The outcome of the scheming brain of Pande (Mehmood) is a hilarious set of events that involves an artificial gender change for two of the men.
The film is produced under the banner of Geetanjali Films Bombay and is directed by Hrishikesh Mukherjee. This song tells of the wonderful value of friendship – that there are no obligations between true friends. A ha, a topic that I want to write about more in detail, but I think I should stop and not test the patience of readers any more.
A wonderful ode to friendship – the kind of friendship and camaraderie that is existing among the member of our musical bandwagon.
This song, and this write up – dedicated to our entire group – with everlasting Memories of Happiness.
Amen
Video (Somewhat shorter in beginning)
Audio
Song – Jab Dosti Hoti Hai To Dosti Hoti Hai (Biwi Aur Makaan) (1966) Singer – Manna Dey, Hemant Kumar, Balbir, Ghulam Mohammed, Lyrics – Gulzar, MD – Hemant Kumar
Lyrics
(Based on Audio)
yaar kisan ye to hadd ho gayi
yaaron ki to gat ho gayi
sirf ehsaan hi baaki reh gaye
dosti yaari radd ho gayi
pyaar mein duniyadarri kaisi
muft ki cheez nagad ho gayi
chhee chhee yaar ki ye pehchaan
dosti mein kaisa ehsaan
jab dosti hoti hai to . . . .(deep breath)
ehsaa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
arey jal bin tadpat machhli jaise
nal bin tadpat paani
jal bin tadpat machhli jaise
nal bin tadpat paani
kya.. kya
kya.. kya.. kya.. kya
kya.. kya
jal bin tarpat machhli jaise
nal bin tarpat paani
ho o
jal bin tarpat machhli jaise
nal bin tarpat paani
aur haath paani bina chalte. . .
ashnaa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
ye paanchon ki panchaayat
jo soche sahi hoga
hum pandav hain bharat ke
jo keh den wahi hoga
ye paanchon ki panchaayat
jo soche sahi hoga
hum pandav hain bharat ke
jo keh den wahi hoga
oy jam ke ek jamaa doo..oo..oon
doodh ka dahi hoga
to doodh ka dahi hoga
mera kya prabhu kehat hai peeda
jeevan kaaj karam kashteera
bhai mera kya prabhu kehat hai peeda
jeevan kaaj karam kashteera
aur haath kasht bina ye jeevan. . .
asaa..aa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
ungli se ungli ka jab tak jod salaamat
saath salaamat
chhoti aur badi hai to kya
paanchon hain to haath salaamat
ek ek ke hain paanch muqaddar
taqleef hotey ghabraana mat
saaje jod jawaani bachpan
paanch se paanch miley to pachpan
paanchon saath hain to. . . (deep breath)
nuksaa..aa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
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.
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Blog Day : |
5446 | Post No. : | 17848 |
Hullo Atuldom
Hemanta Mukhopadhyay a.k.a. Hemant Kumar was a music director/ singer whose career spanned from the late 1930s (not sure about this, am open to being corrected) to 1989. He was fond of singing & music is said to have quit academics to focus on a career in music.(detailed biography is available in this post by our Sudhirji) .
His first film song was in Bengali under S D Burman’s music direction. His first film as music director was also in Bengali. He is said to have moved to Mumbai at the behest of Hemen Gupta who called upon Hemant Kumar to compose music for his (Hemen Gupta’s) Hindi directorial debut ‘Anandmath’ in 1951. I am sure that there are many followers of this blog who know about Hemant Kumar’s musical journey which began in Bengali films and spread to other languages like Odia, Marathi, Gujarati, Assamese, Tamil, Punjabi, Bhojpuri, Konkani, Sanskrit, Urdu in addition to Hindi films. He has sung many non-film songs, & was an exponent of Rabindra Sangeet and perhaps the most sought after male singer. His velvet voice was extensively used as playback for Uttam Kumar (in Bengali), Dev Anand, Sunil Dutt, Pradeep kumar etc (in Hindi).
The blog has 320 of his Hindi songs as music director, 228 (including 8 of his NFS) of his 322 as singer. All these I am mentioning are only from Hindi films, his numbers from other languages- I am unaware of.
For this post, remembering him on his 103rd birth anniversary, we shall have a song from the 1969 released “Raahgeer” (also written as “Rahgir”). This was a movie that was produced by Hemant Kumar under the banner of his Geetanjali Pictures. It was directed by Tarun Majumdar had music by Hemant Kumar (himself) and Gulzar was the lyricist. Asha Bhonsle, Usha Mangeshkar, Kishore Kumar, Manna Dey, Lata Mangeshkar, Aarti Mukherjee, Sulakshana Pandit, & Hemantda as the playback singers. Biswajit, Sandhya Roy, Nirupa Roy, Shashikala, Kanhaiyalal, Iftikaar etc in the cast. There were 10 songs in the film and the following six are already on the blog.
| Song | Date of post | Remarks |
|---|---|---|
| Janam se banjaaraa hoon bandhu | 19 September 2011 | |
| Tumhaare nain dekh ke suna hai | 27 October 2013 | Post by Sudhirji. 8900th post of the blog. 200th song of Hemantda as music director & is a full biography of the legend |
| Mitwa re bhool gaye thhe | 6 July 2016 | Post by Avinashji. Has brief synopsis of the movie |
| Vaidh ke palle pade | 13 July 2018 | |
| Baabu ghabraate hain | 17 July 2018 | |
| Panchhi re udey gagan gagan mast magan | 25 June 2022 | Post by Avinashji. |
Today’s song is in the voice of Hemant Kumar.
Song-Kabhi ruk gaye hain kabhi chal diye (Raahgeer)(1969) singer-Hemant Kumar, Lyrics-Gulzar, MD-Hemant Kumar
Chorus
Lyrics
mujhko dosh na dena bandhu
mera koi do o o sh nahin
kisko de kar
aaya thha dil
kis’se maanga
ho o osh nahin
kabhi ruk gaye hain
kabhi chal diye
na jaane kise dhoondhte hain safar mein
kabhi ruk gaye hain
kabhi chal diye
kise kho diya thha
na jaane dagar mein
kise kho diya thha
na jaane dagar mein
na jaane kise dhoondhte hain safar mein
akele rahe zindagi bhar akele
na dil saath aaya
na gham saath aaye
hmm mm mmm hmm mm mm
hmm mm mm hmm mm mm
akele rahe zindagi bhar akele
na dil saath aaya
na gham saath aaye
yahi raaste jinki manzil nahin thhi
yahi raaste jinki manzil nahin thhi
yahi saath thhe
bas yahi saath aaye
kabhi ruk gaye hain
kabhi chal diye
kabhi maang kar le liye gham kisi ke
kabhi apne gham kar diye hain paraaye
hmm mm mmm hmm mm mm
hmm mm mm hmm mm mm
kabhi maang kar le liye gham kisi ke
kabhi apne gham kar diye hain paraaye
ye bedard yaaden
ye hamdard aansoo
ye bedard yaaden
ye hamdard aansoo
badi door tak chhodne saath aaye
kabhi ruk gaye hain
kabhi chal diye
kinaara mila jo kinaara nahin thha
bahaana thha koi
sahaara nahin thha
yahi ek dil
jisko samjhe thhe apna
yahi ek dil
jisko samjhe thhe apna
na jaane thha kiska
hamaara nahin thha aa aa aa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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