Posts Tagged ‘I C Kapoor’
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Blog Day : |
5699 | Post No. : | 18217 |
“Raunaq”(1944) was directed by Dwarka Khosla for Saubhagya Pictures, Bombay. The movie had Motilal, Charlie, Chandramohan, Swarnlata, Chandraprabha etc in it.
“Raunaq”(1944) had ten songs in it. Three songs have been covered in the past.
Here is the fourth song from the movie to appear in the blog. This obscure song from this obscure movie is sung by a female voice with female chorus. HFGK is not very helpful because HFGK considers it a samooh geet (chorus song).
I request our knowledgeable readers to throw light on the lead female singer of this song. Going by the list of singers listed for other songs, this voice could well be that of Parul Ghosh (listed as Shrimati Ghosh in other songs). I request our knowledgeable readers to help identify the voice.
Only audio of the song is available. It appears to be a wedding ritual song being sung by sahelis of a would be bride. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Audio is not very clear. I am not fully satisfied with the lyrics that I have noted down and there may be errors in it. I request our knowledgeable readers to point out the eoors if any and suggest corrections.
Ishwar Chand Kapoor is the lyricist. Music is composed by C Ramchandra.
Song-Ghoonghat mein haule haule bole dulhan (Raunaq)(1944) Singer-Unknown female voice, Lyrics-I C Kapoor, MD-C Ramchandra
Female chorus
Lyrics
ghoonghat mein haule haule boley dulhan
ghoonghat mein haule haule boley dulhan
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
baabul se boley meri shaadi rachaao
shaadi rachaao
baabul se boley meri shaadi rachaao
shaadi rachaao
deputy collector mera dulha banaao
dulha banaao
deputy collector mera dulha banaao
dulha banaao
o o o o
chhote se ghar mein mera ghutata hai dam
chhote se ghar mein mera ghutata hai dam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
mehandi waale haathon se karti ishaare
karti ishaare
mehandi waale haathon se karti ishaare
karti ishaare
apne joban ki kasmein wo daare
kasmein wo daare
apne joban ki kasmein wo daare
kasmein vo daare
o o o
bagiya mein genda khila aao balam
bagiya mein genda khila aao balam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
din hon dashahra tere raaten deewaali
din hon dashahra tere raaten deewaali
ghar ki tu raani bane
sainya ki pyaari
ghar ki tu raani bane
sainya ki pyaari
o o o
yahi duaayen dete jaate hain hum
yahi duaayen dete jaate hain hum
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
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 : |
5347 | Post No. : | 17532 | Movie Count : |
4717 |
Today’s song is from a C grade Stunt film – Fighting Hero-1946.
1946 was an important year in the history of Hindi films. This was the period when the impending Independence of India was on the Anvil and everyone knew that in the year 1947 it would take place. At the same time when the country was to be divided on the basis of Religion and another muslim country Pakistan was to come into existence. Many of the muslims in the film industry were excitedly awaiting their departure from India to the Utopia. This would, naturally, create a lot of vacancies in every department of film making. However, there was enough talent available in the remaining India to fill up the void. Hence from the year 1946 itself there were several debutantes. This made the year 1946 an year of Debuts of several new actors, directors, MDs, Lyricists etc etc.
The second World War had just ended, which had created inumerable millionaires, fed on black marketing and illegal trades in the war period. Many of them were keen on investing their ill gotten wealth in the film industry. Thus, there was no dearth of finances in the industry. From 1946 to around the early years of the 50’s, some of these ” novo-rich” persons provided finance. Some even tried their hand at directing films or even acting in it. Let us see what other things happened during this period.
By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.
1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and filmmakers plan to pack their bags and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors,directors and MDs. The film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.
The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.
In 1945, only74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.
Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in the French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in the Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.
Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of the Hindi film industry. See this….
Nirupa Roy debuted in film Amar Raaj-46
Nasreen (real name Zareena), daughter of Rafiq Gaznavi and Anwari bai had debuted in her first released film ” Shahjahan-1946.
Geeta Bali debuted with a dance in film Badnami-46
Geeta Roy sang her first film song in film Bhakta Prahlad-46
Balraj Sahni debuted in the film Insaaf-46. It was a small role,though.
K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharti Ke Lal-46
Meena kapoor sang her first released Hindi film song in the film Eight Days-46. She also recorded her first Hindi film song in the film ‘Door Chalen’-1946, which was released later than the film Eight Days-46.
Sudhir Phadke debuted as MD in film Gokul-46
P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46
Chitragupta did his first film as MD in Lady Robin Hood-46
Ram Ganguly became MD with film Maharana Pratap-46
Abhi Bhattacharya debuted in Hindi film Milan-46
Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46
Hansraj Behl debuted as MD with film Pujari-46
Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46
Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46
S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46
So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.
Film Fighting Hero-46 was produced by Keshav k. Talpade, under his own banner- Talpade productions, Bombay. He also directed the film. He had already directed another film-Stunt king-in 1944, so he got confidence. Later he also directed 2 more films for Basant Pictures of Homi Wadia and directed Fearless Nadia in Tigress-48 and Maya Mahal-49. After this his name does not appear anywhere. Keshav was earlier in the petrochemical business and apparently had earned a lot. However after this one film – Fighting Hero he did not produce any other film. He purposely chose this Genre of stunt films, because in that period, this was a genre in which a stunt film could be made in 5 to 7 lakhs only. Further it did not require well known actors or Music directors.
The Music Director for this film was Chitragupt for whom this was only the third film as a Music Director, having debuted in the same year with the film Lady Robin Hood-46. Chitragupt (16-11-1917 to 14-1-1991) later became a Melody maker giving music to 149 films and composing 1036 songs. He also sang29 songs in 16 films. He was one of my favourite composers. Though a genius, he was not lucky enough to ever join the grade A MDs simply because he did not get any famous film house as a mentor.
The film had only 6 songs, 3 of which were sung by Mohantara Talpade, niece of the Producer/Director. She started in 1942 and sang 117 songs in 54 films till 1958. She was a very popular singer in marathi films and NFS. She was born on 24-10-1926 in Bombay. She studied upto matriculation. She learnt music from Heerabai Zaveri, Shyamalabai Mazgaonkar and Navrang Master too. Khemchand Prakash recorded her first song in 1941 but her song in the film Mamaji-1942 was released first. It was composed by H.C.Bali, who was responsible for Saigal’s entry in films.
1946 was the best year for her as she sang in 12 films in 1946. Her best period was 1946 to 1948. Then Lata overtook and she fell back. She was married in 1949 and took a 3 years’ gap to raise a family. She became Mohantara Ajinkya. From 1952 to 1955 again she sang. Then she shifted to Marathi and became popular there.
The cast of the film included Sudha Rao, Iqbal Begum, Kavita Sardesai, Romesh Vyas, Moolchand, Niranjan Sharma and others. Except Moolchand and Niranjan Sharma, I do not know about anyone else in the cast. Moolchand made his acting Debut in this film. He acted in 131 films till the film Toofan-1989. He died on 18-12-1988. Niranjan Sharma was a well known Character actor. He too made his Debut in this film. He worked in 129 films till mata vaishno devi-1971. He wrote Lyrics in 3 films for 23 songs. Niranjan Sharma wrote the story and Dialogues of the film Fighting Hero-1946, besides acting in it. All in all, I guess this must be one of the most economically made films of that time.
Today’s song is sung by Mohantara Talpade and written by I.C.Kapoor.
Song- Mere sapnon ke raaja mere jeewan mein aa jaa (Fighting Hero)(1946) Singer- Mohantara Talpade, Lyricist- I.C.Kapoor, MD- Chitragupt
Lyrics
Mere sapnon ke raaja
mere sapnon ke raaja
mere jeewan mein aa jaa
mere jeewan mein aa jaa
aa jaa aa jaa
mere sapnon ke raaja
mere sapnon ke raaja
mere jeewan mein aa jaa
mere jeewan mein aa jaa
aa jaa aa jaa
sapnon mein hans hans kar aanaa
sapnon mein hans hans kar aanaa
jeevan mein tarsaana
sapnon mein hans hans kar aanaa
jeevan mein tarsaana
kaisi hai ye preet balamwaa
kaisi hai ye reet
kaisi hai ye preet balamwaa
kaisi hai ye reet
kuchh mujhko samjha jaa
mere jeewan mein aa jaa
aa jaa aa jaa
mere sapnon ke raaja
mere sapnon ke raaja
mere jeewan mein aa jaa
mere jeewan mein aa jaa
aa jaa aa jaa
jab se tose nain lade hain
jab se tose nain lade hain
tab se teri raah khade hain
tab se teri raah khade hain
dil mein meethhi meethhi chaahen
dil mein meethhi meethhi chaahen
khuli huyi hain meri baahen
khuli huyi hain meri baahen
mere dil ki aag bujhaa jaa
mere jeevan mein aa jaa
mere dil ki aag bujhaa jaa
mere jeevan mein aa jaa
aa jaa aa jaa
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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5303 | Post No. : | 17376 |
“Chehra”(1946) was an obscure movie. Very little information is available on this movie. Our inhouse encyclopeadia, Mr Arunkumar Deshmukh, while discussing a song from this movie, had shared some rare information about this movie.
According to those details, T”Chehra”(1946) was directed by Rajendra Sharma for Upright pictures, Bombay. The movie had Najma, Kamal Jamindar, Suraiya Zulfi, Mustafa, Jugal Kishore, Kneez, Baby Anwari, Baldev Raj etc. All these actors were small time actors. The Suraiyya Zulfi in this movie was different from the famous Suraiyya.
This movie, which was released in 1947, flopped badly. The movie had nine songs and these songs ended up being forgotten. Even HFGK could not get much details about the songs of the movie. Singers of most of the songs were unknown according to HFGK. Gradually, the songs of this movie have become available online. This blog already contains four songs out of nine.
Here is the fifth song from “Chehra”(1946). HFGK is silent about the singer. Listening to the song , it is clear that it is sung by Shamshad Begam and chorus. I C Kapoor is the lyricist. Music is composed by M A Mukhtaar.
The lyrics are quite raunchy to listen to. Those days, songs with this kind of lyrics sometimes faced the ire of the censores. Apparently, this song had no such problem, seeing that this as well as other songs of this movie were hardly played on radio or loudspeakers so few people were even aware of these songs.
Only audio of the song is available. So it is difficult to guess how and on whom this song was picturised.
Song-Haath gore gore gulaabi rang waale (Chehra)(1946) Singer-Shamshad Begam, Lyrics-I C Kapoor, MD-M A Mukhtar
Lyrics
Haath gore gore gulaabi rang waale
karen ishaare kahen aao jee
meri oonchi atariya pe aao jee
aao jee
meri oonchi atariya pe aao jee
haan jee
gore gore gulaabi rang waale
karen ishaare kahen aao jee
meri oonchi atariya pe aao jee
aao jee
meri oonchi atariya pe aao jee
angiya ke palle more khul khul jaayen
patli kamar bal khaaye khaaye jaaye
angiya ke palle more khul khul jaayen
patli kamar bal khaaye khaaye jaaye
o mora ubhra jobanwa tumko bulaaye
mere dil pe
mere dil pe raaja jee dekho nikle hai haaye
nikle hai haaye
suno jee
aur kuchh suno jee
meri oonchi atariya pe aao jee
aao jee
meri oonchi atariya pe aao jee
meri zulfen hain kaali
mere gaalon pe laali
maine haathhon pe menhndi lagaai re
meri zulfen hain kaali
mere gaalon pe laali
maine haathhon pe menhndi lagaai re
o mora bhola sa man
gora gora badan
ye jawaani
haaye jawaani ki duniya basaai re
basaai re
?? looto jee dil ko lutaao jee
dil ko lutaao jee
meri oonchi atariya pe aao jee
aao jee
meri oonchi atariya pe aao jee
haath gore gore gulaabi rang waale
karen ishaare kahen aao jee
meri oonchi atariya pe aao jee
aao jee
meri oonchi atariya pe aao jee
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
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Blog Day : |
4762 | Post No. : | 16509 | Movie Count : |
4487 |
Today’s song is from the film Duniya Tumhari hai-1942. This was a social film made by Pawar Pictures- owned by the Director G.P.aka Ganapatrao Pandurang Rao Pawar. The name G.P.Pawar instantly reminds us of Lalita Pawar. He was her first husband. Before and also after marriage Pawar was director of most films of Lalita Pawar. They had a son- Jai Pawar.
The marriage crashed on a rock, when Lalita discovered the love affair brewing between him and her younger sister. She immediately divorced him, but kept using the surname “Pawar” till the end , though she had married again. Their son Jay could never become an actor. He was a Producer of Parwana-71 and Manzil-79. Earlier he was assistant director during the film Mem Didi-61. His son too could never become an actor, though he tried hard.
The film’s Music Director was S N Tripathi and Lyricist was I.C.Kapoor. The cast was Kanta Kumari, B.Nandrekar, Madhukar Gupte, Sadiq, Ansari etc. There were 12 songs in the film.
In the Hindi film industry, in the early years, it was expected that the hero of a film must be tall, handsome, fair, strong and with an impressive personality. If not all, then most of the above qualities were expected in a Hero. Now, nobody can have ALL these qualities desired in one person. So slowly, the industry accepted the reality and instead of a tall, handsome etc etc Hero, compromises were made and his singing and acting ability became the desired qualities. Over a period, singing was dropped and only the histrionic capabilities became the desired quality and thus actors like Om Puri, Balraj Sahani, Shaikh Mukhtar, Nasiruddin Shah etc became Heroes and succeeded on the basis of their acting alone.
However, still the puppy faced, Chubby and Chocolate looking actors were popular. Actors like Pradeep Kumar, Karan Dewan, Bharat Bhushan etc. got dozens of films and the best and most beautiful Heroines, despite their lack of acting skills.
When I look back at different Heroes operating in Hindi films from 1931 onwards, I find that there were very few really handsome Heroes. I can quote names of at least 3 Heroes who were really handsome and attractive. They were B.Nandrekar, Najmul Hasan and Chandra Mohan.
There was an actor who easily transitioned from silent films to talkie films. This was B Nandrekar or Baba Saheb Dada saheb Nandrekar.
Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born on 15th November 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was the hero in ‘Baghbaan’ (1938) opposite Sitara Devi.
In 1939, he became the first actor to go abroad to shoot scenes in the film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in the film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.
His lawsuit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.
His sister Ameenabai was also an actress. Nandrekar acted in some Marathi films also.
Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).
He passed away in 1949. No definite information is available about his demise.
One more interesting personality in this film was Ansari. Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in the Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.
Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.
By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough, initially when he joined the film industry, as there were many character actors already there, who were specialists in negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potential .
He believed that it was not necessary that a villain should have thick eyebrows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies, he was a well dressed person ,always beaming and had a friendly smile on his face. In his films, he used to be boss of a criminal syndicate and have an army of foot soldiers who carried out dirty work on his behalf. To keep a distance between master and servant, instead of calling them by their name he used to call his cronies by their allotted numbers like Number Ten Or Number Five.
With a hit movie ‘Mangu’, he became a director and later directed many successful movies like Black Cat, Tower House, Mr Lamboo, Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films, he made many memorable movies. Although he had to look after his own company and permanent staff ,he did not disappoint other filmmakers ,who wanted to have him in their movies in the role of villain. It is a fact that it was his Black Cat which helped G P Sippy to be a part of the league of big producers, but it is also true, Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .
Mr N A Ansari, was essentially a dedicated film maker and had no false illusions about his own capabilities. His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies. Those who love the movies of the golden age, fondly remember his movies which used to have him in the role of villain, beside good music, suspense, comedy, dance with a plausible story and a strong message for society, that “Crime Never Pays”.
With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954, offered him Mangu to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & it’s music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had a breathtaking, thrilling climax, involving the speeding train. Some real shots, a few stock shots & rest studio shots with back projections (Aadhi Haqeeqat ,Aadha Fasana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movies on youtube.
He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but a similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.
Beside Sheikh Mukhtar,he directed movies, like Black Cat,Tower House,Jara Bach Ke,Wanted for other producers and playing the main villain .He had no qualm for working in the movies directed by other film makers & in this category, movies like Private Secretary,Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra, released in 1941.
He could not say “No” to film maker Sultan Ahmad,when he insisted him to appear in Dharam Kanta (1982 ) & later in Jai Vikranta. N.A.Ansari closed his eyes for ever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi ,much before the release of his last movie Jai Vikranta in 1995. As an actor he did roles in 77 films, starting with Aasra-41. He directed 11 films, from Mangu-54 to Jurm aur Saza-74.
(Based on information from Filmdom-46 and an article by M.N.Sardana ji, with thanks.)
With today’s song, film Duniya tumhari hai-1942 makes its Debut on this Blog.
Song- Hansi rahegi labon per jahaan rahe na rahe (Duniya Tumhaari Hai)(1942) Singer- Khan Mastana, Lyricist- Ishwar Chand Kapoor, MD- S N Tripathi
Lyrics
Hansi rahegi labon per
jahaan rahe na rahe
Hansi rahegi labon per
jahaan rahe na rahe
zameen rahe na rahe
zameen rahe na rahe
aasmaan rahe na rahe
haan
zameen rahe na rahe
aasmaan rahe na rahe
kam na hoga kabhi
shauk tere sijdon(??) ka
kam na hoga kabhi
shauk tere sijdon(??) ka
zameen rahe na rahe
zameen rahe na rahe
aasmaan rahe na rahe
haan
zameen rahe na rahe
aasmaan rahe na rahe
hansi rahegi labon pe
jahaan rahe na rahe
hansi rahegi labon pe
jahaan rahe na rahe
zameen rahe na rahe
zameen rahe na rahe
aasmaan rahe na rahe
ek apni duniya niraali
basaayenge dil mein
ek apni duniya niraali
basaayenge dil mein
bala se apni ye
bala se apni ye
saara jahaan rahe na rahe
haan bala se apni ye
saara jahaan rahe na rahe
udaas (??) chain se ujdi chaman mein bulbul ki
udaas (??) chain se ujdi chaman mein bulbul ki
bahaar aayi hai ab
bahaar aayi hai ab
aashiyaan rahe na rahe
haan
bahaar aayi hai ab
aashiyaan rahe na rahe
hansi rahegi labon par
jahaan rahe na rahe
O naina maanat naahin kehna
Posted on: January 3, 2021
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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4552 | Post No. : | 16139 |
Today’s song is from the film Chehra-1946. The film was so obscure that it had no face to recognise in the crowd of 153 Hindi films that were produced in 1946. The film was made by an unknown banner – ” Upright pictures, Bombay”. The director was Rajendra Sharma, for whom this was his First film as a Director. He went on to direct 4 more films namely, Jal Tarang-49, Ehsan-54, Dost-54 and Indra Leela-56, before disappearing from the arena of films. The Music Director was M.A.Mukhtar.
M.A.Mukhtar hailed from Punjab. He started his career by becoming assistant to MD Khurshid Anwar. Chehra was his First and the only independent film. There is a Mukesh solo also in this film -‘ O prani kya soche kya hoy’.
M.A.Mukhtar assisted Khurshid Anwar in PARWANA -47,the last film of K.L.Saigal.
Soon after, the communal riots started. Mukhtar wanted to bring his family from Punjab to safety in Bombay, but unfortunately he was killed in the riots in Jalandhar.
The cast consisted of Najma, Kamal Jamindar, Suraiya Zulfi, Mustafa, Jugal Kishore kaneez, Baby Anwari, Baldev Raj and others. These are veri insignificant names for Hindi films of those years. The Heroine was Najma. Her real name was Naseem. As there was already the popular actress Naseem Banu, She tookn the screen name of Najma. She was born on 12-8-1928 at lahore. Her father Abdul Rasheed was a respected businessman. She was very keen to join films. She was also very good looking.
In 1941, she signed a contract with Acharya Art productions and made a tame Debut in film Kunwara Baap-42. Her name was uncredited. Then came Uljhan-42, Gharonda aka Nai Zindagi-43 and Saudagar-44 (UR). She was cast as a Heroine opposite Suresh and Harish. Her some other films were Dr. Kumar-44, Piya Milan and Naseeb-45, Chehra-46, Haqdar-46, kasam-46 etc. Her last film in India was Parwana-47.
She married a Lahore distributor Mohd. Yasin and they migrated to Pakistan. After taking a few years for family raising, she joined films again as a supporting actress. She featured in 120 films in pakistan till 1987. Najma died 0n 7-1-1988 at Lahore, place of her Birth.
The curse of same name confusion has troubled Hindi films right from the 30s. Today we will talk about 4 different Suraiyas.
1. Suraiya Jamal Sheikh – Perhaps the most well-known of all Suraiyas, Suraiya Jamal Sheikh was one of the last ‘great’ singing-stars that dominated the Hindi film screen in 1930s and 1940s. Her acting style was a charming blend of dialogues and gestures, and was strongly reminiscent of the Muslim feudal era. She retired from films in the early 1960s, settling down to a solitary life in Mumbai before her death in 2004.
2. Suraiya Choudhary – Suraiya Choudhary was a supporting actress active in Hindi films from late 40s to early 50s and was active at the same time when singing-star Suraiya was playing the lead in films. Both Suraiyas were cast together in Jeet (1949). Other films to her credit include Sangeeta (1950), Sabz Baaz (1951), Azad Hindustani (1948) etc.
Suraiya choudhary also appeared with Suraiya-(Jamal Sheikh) in Wadia films Balam 1949, directed by Homi Wadia. Suraiya Choudhary worked with Geeta Bali in Dil Ki Duniya in 1949,directed by Mazhar khan.Suraiya Choudhary played as heroine in film Bombay-1949,opposite Uday kumar. Shakila also worked in this film.Suraiya Choudhary worked with Nargis in Chhoti Bhabhi,1950,directed by Shanti Kumar.
3. Suraiya (Begum) Multanikar – Suraiya Multanikar is a Saraiki folk-singer who also sang for few films including Gul Bakawali (1961) and Badnaam (1966). She was given the ‘Pride of Punjab’ Award recently in 2016 by Punjab Institute of Language, Art and Culture (PILAC).
4. The fourth one was called Suraiya Zulfi. The real name of Suraiya Zulfi was Jamila Begum. She was born on 11-4-1919 at Lahore. Her father was a Petition writer in the District Court. Her schooling was done in Foreman High school. After completing her Junior Cambridge examination, she was married to one Mr. A.Q.Qureshi. He was a Stenographer to Home Secretary, Punjab Government. He was a corrupt person and had a lot of money. Unfortunately, her marriage was short lived and soon they were divorced.
Suraiya’s elder sister Razia Begum was already working in films in Bombay. She was an actress and a singer. Suraiya went to Bombay to try her luck. She was very good looking. Suraiya’s first non credited Debut was in the film Kiski Biwi-1942. This role came to her because to get it, she became friendly with the director Mirza. Her second film was Dada Gunjal’s Mata-1942. With great maneuvering and efforts she convinced Director Essabhai to make her Heroine in film Khiladi-43. The film was delayed and released only in 1945. She started doing small roles in various films. She was variously billed as Suraiya, Suraiya Bano, Suraiya Begum and Suraiya Zulfi.
Her film Yateem-45 was a successful film. In 1946 she did some films like Chehera, Pandit ji, Rupa and some others. Her last acting film was Do naina-47. Along with sister Razia Begum, she started her own Production Unit called R.S.Production and made 2 films in 1947-Kango and Do Naina.
She had, meanwhile, married a wealthy merchant Ali Buksh. Just before the partition, she migrated to Pakistan alone. It seems her husband chose to stay in India only. She planned to build a studio in Lahore for making films. It is believed that while travelling from Karachi to Lahore, Suraiya Zulfi died in a plane crash on 27-12-1947.
( based on information from Filmdom-1946, some Pakistani sites, HFGK,Muslim Cinema by Isak Mujawar and my notes.)
The film Chehra-46, which was a Social film was released on 31-12-1947, more than an year after completion. It probably got stuck with censors first and later in the Partition chaos. Unfortunately, Suraiya Zulfi had died on 27-12-1947 in Lahore in a plane crash. As expected, the film was a flop and ran just one week in Swastik cinema, Bombay.
It is a mystery what makes a film successful. No one has the winning formula. The other day, I was reading the Thesis of Dr. Soumya Dutta of the US, titled “Film Genres’ ‘. It was sent to me by academia.edu, an American site for academicians. In this Thesis he has quoted about the famous theory of Seven Plots, floated by Christpher Booker thus……
” In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.
After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. ”
However, In India, no film is based on an exclusive Generic Story. It is always a clever mix of several Genres. For example, see this story of a Hindi film ” A poor boy and a rich girl fall in love.Boy goes to other countries and comes bag fabulously rich. The girl is kidnapped by a Monster. Boy searches for her, finds her and kills the Monster in a thrilling sword fighting. The couple unites. ” Clap, Clap, Clap !!!
Overall, the Indian movies are highly imaginative. In this field, the South beats all other film industries. # songs from this film are discussed earlier. Today’s song is the fourth one. It is a reasonably good song by Shamshad Begum. Enjoy….
Song-O naina maanat naahin kehna (Chehra)(1946) Singer- Shamshad Begum, Lyricist- I C Kapoor, MD-M A Mukhtar
Lyrics
o naina
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
teri choron waali ghaaten
meri haule haule baaten
meri haule haule baaten
baaten yaad karo
baaten yaad karo
wo raaten
ab kyun hua begaana re
ab kyun hua begaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
kal ki baat hai kisne jaani
kal ki baat hai kisne jaani
apna aaj zamaanaa re
apna aaj zamaanaa re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
kuchh le le
aa kuchh de de
kuchh le le
aa kuchh de de
kal ka kaun thhikaana re
kal ka kaun thhikaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
Bole re panchhi bole
Posted on: May 28, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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3966 | Post No. : | 15047 | Movie Count : |
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Today’s song is from film Bachpan-1945.
In the history of Hindi movies, there have been three films that had the title viz “Bachpan”. The first was of course Bachpan-1945, today’s film under discussion. The next one was made in 1963, in which Salim Khan- father of Salman khan and a member of the famous writer jodi of Salim-Jawed, was the Hero – opposite Menaka Irani. She was the eldest sister of the famous child stars Honey and Daisy Irani. She was also the wife of stunt film actor and director Kamran Khan. Their children are Choreographer and director Farah Khan and Compere cum director Sajid Khan. Incidentally Mrs. P.N.Irani was the mother of these Irani sisters and also the one who took away all their earnings.
The third film was made in 1970, with Sanjeev kumar and Tanuja.
Film Bachpan-45 had a cast consisting of Baby Madhuri, Mazhar Khan, Baby Shakuntala, B.Nandrekar, Chandraprabha, comedian Dikshit, Gulab, Dalpat, Shashi kapoor(sr.) and others. There were two actresses with prefix Baby, but only one Baby Madhuri had the main child role throughout the film. The other Baby-Shakuntala had a role of an invalid child, stuck to the wheelchair only.
Baby Maduri,whose real name was Mah Laqa, was the daughter of M. Ali Baksh,M.D. and Iqbal begum,a cine artiste. In other words Baby Madhuri was the youngest sister of actress Meena Kumari and her sister actress Khurshid Jr. Born in a family of film people,Baby Madhuri was good at acting and singing. She was picked up by Director Nazir of Hind Pictures and took her for his film ‘ Sandesa ‘. ( He is the same Nazir,whose first wife was Sitara Devi. He was the maternal Uncle of K. Asif ( Mughal-e-Azam fame ) i.e. Mama. He later divorced Sitara devi ( actually,she had eloped with k.Asif ) and married Swarnalata and both migrated to Pakistan. Nazir’s studio was burnt during the communal riots in Bombay. Author Manto has detailed all this in his book. )
In Wadia’s film Vishwas-43, the talents of Baby Madhuri in acting and singing flowered and she was appreciated much. Then she acted and sang some songs in films like Anjaan,Jungle princess,Muqabala,Ekta(sindhi),Andhera,Mahatma Vidur,paraya Dhan,Bachpan,Nai maa etc etc.
She was also called as Madhu. She was married to actor Mehmood. She was very fond of new fashions and western clothes. Due to this, she became a cleptomaniac and was caught many times stealing things and shop lifting. She knew Riding,cycling and swimming too. She spoke good English,though not much educated.( Thanks to shri Harish Raghuwanshi ji for info on Baby Madhuri).
Now let us see about the other ‘Baby’ of this film. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.
Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.
Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA.
Baby Shakuntala was born in a middle class Maharshtrian family of Poona, on 17-11-1932. Those days Prabhat film company had moved to Poona. One of the Prabhat founder partners, Mr. V.G.Damle was their close relative. Along with other children, she too used to go to Prabhat premises for playing there She was 8 to 10 year old when V.Shantaram spotted her and offered a role in film, ‘Das Baje’-42 ( Daha Wajta, in Marathi). The hero’s younger brother’s role was changed to Hero’s sister’s role for accommodating her in the film.
It was a routine matter at Prabhat that for child roles in all films, the children of the partners of Prabhat( Shantaram,Damle,Kulkarni,Fatehlal and Dhaiber) or near relatives were taken. In film Sant Tukaram or other films of Prabhat, all child artistes were from within the Prabhat family only. Shakuntala was very good in studies.She used to get up at 4 am. do school studies, then do household chores, attend school and lastly attend shootings.
Das baje was a hit film. Then came ‘Ramshastri’-44 ( Bilingual-H/M ) meanwhile Shantaram and others left Prabhat and moved to Bombay. After that her work too shifted to Bombay. Due to these changes, she could study only upto Matriculation. But she was proficient in English, Marathi, Hindi/Urdu, Gujarati and Kannada. At the time of shooting for film ‘Shikayat’-48, actor Shyam made her his “Mooh Boli”sister and till he died in an accident he was very close to her.
In 1949, she was 17 year old and she became a heroine in film “Maya bazaar”-49 opposite Balakram. Then came a string of films. She worked with well known actors like Kishore kumar, Bharat Bhooshan,Karan Dewan,Amarnath,Anant Marathe,Master Bhagwan, Abhi bhattachrya etc. She was also luck to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja nene, Gajanan Jahagirdar,Shahid lateef etc. This enriched the depth of her acting.
Kishore Kumar was her Hero in films like, Chham Chhama Chham- 52, fareb-53 and Lehren-53. They had a good tuning like a naughty brother and sister. once kishore kumar surprised her by visiting her in her Kolhapur house ( after her marriage) and spent one day with her family. The famous kishore Kumar- Lata mangeshkar song “aa muhabbat ki basti basayenge hum” from film Fareb-53 was filmed on kishore and Shakuntala only.
Lot of marriage proposals started coming for her and she finally was married in 1954 to Sardar Nadgonde of Kolhapur, a Royal family. After marriage she left films, though she had good demand and became Mrs. Umadevi Nadgonde. She had a son and a daughter. She lived a contented life of 82 years and died recently on 18-1-2015, at Kolhapur.
She had acted in almost 40 Hindi films ( including bi-lingual) and 20 Marathi films from 1942 to 1954. She also acted in famous Marathi dramas on commercial stage. 14 of her films celebrated silver Jubilees. Some of her films were- Das baje-42, Ramshastri-44,Piya Milan-45, Taramati-45, Bachpan-45, Bachhon ka khel-46 ( with Meena kumari), Phir bhi apna hai-46Moti-47, Tohfa-47, Shikayat-48, Seeta Swayamvar-4, maya bazaar-49,, kamal ke Phool-50, Pardes-50,Malti madhav-51 Nanhe Munne-52, Chham chhama chham-52, fareb-53, Lehren-53, Jhamela-53, bhagyawaan-53, Biraj bahu-54, pooja-54, Bindiya-55 etc. ( Bio based on her interview in ” chanderi Aathavani ” by Sulabha Ternikar and material provided by shri Harish Raghuvanshi ji, with Thanks.)
Film India magazine was quite popular in the 40s and the 50s. In its June-1946 issue, the editor Baburao Patel has reviewed this film. As per his judgement, the film was no good. Its story (story, dialogues and songs by I.C.Kapoor) had no life and the director Homi Wadia had spoiled the film by his inept handling and direction. No wonder. Baburao patel rarely praised any film,director or an actor, so this review was on expected lines only.
The film was based onthe ” theme of innocence teaching bitter experience to look at life with a smiling understanding” according to Patel. The story of the film was…
Bhairav (Mazhar Khan) is fed up of life, because his son married outside their cast and all his society criticized him no end. He became very bitter in life and lived in a house on top of a mountain- away from society. He is feared by the villagers around. One of his relatives (Kanta Kumari) sends her niece Madhu (Baby Madhuri) to live with him. Over a period, due to the good and helping nature of optimistic smiling Madhu, Bhairav starts changing and becoming a normal person.
Suddenly, the aunt kidnaps Madhu and sells her as a companion to a rich invalid kamla(Baby Shakuntala). Here too, Madhu wins everyone’s hearts. Envied by this, the Governess (Gulab) of kamla kidnaps Madhu. Meanwhile, Bhairav is also searching Madhu. He rescues her, but the Police detain him and Madhu in the Police station. The village school Teacher Ramesh(B.Nandrekar) and his beloved(Chandraprabha) give positive evidence and Bhairav and Madhu are released. All ends well in the end.
The role of teacher Ramesh was done by B.Nandrekar. This name must be totally unknown to the new generation readers. B.Nandrekar or babasaheb Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.
In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.
His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.
Nandrekar appeared in 23 Hindi films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).
He passed away in 1949. No definite information is available about his demise.
With today’s song, film Bachpan-1945 makes its debut on the Blog.
Song-Bole re panchhi bole (Bachpan)(1945) Singers-Unknown female voice, unknown male voice, Lyrics- I C Kapoor, MD- S N Tripathi
Both
Lyrics
Bole re panchhi bole
Bole re panchhi bole
kya bole
Bole re panchhi bole
ambuwa pe baithha shor machaaye
ambuwa pe baithha shor machaaye
suno jee
haan
chhota sa dil mera
chhota sa dil
chhota sa dil mera ghabra jaaye
dole re dil mera dole
dole re dil mera dole
bole re panchhi bole
kya bole
Bole re panchhi bole
teri jawaani meri jawaani
teri jawaani meri jawaani
kehta hai wo to yehi kahaani
kehta hai wo to yehi kahaani
????
hmm
dinon ke ?? soye
?? soye
bole re panchhi bole
kya bole
panchhi to hai naadaan saanwariya
panchhi to hai naadaan saanwariya
patton ke bhi hai jaan saanwariya
baat wo ho bole haule
baat wo ho bole haule
sono je
hmm
?? uski bala se
?? uski bala se
karta hai wo to baat hawa se
jee mein jo aaye wo bole
jee mein jo aaye wo bole
bole re panchhi bole
bole re panchhi bole
Kisi ko yaad karta hai mera dil
Posted on: November 28, 2018
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 : | 3785 | Post No. : | 14768 |
Today’s song is from the film Madhubala-50.
What is the meaning of ‘Sone pe suhaga ‘ or ‘Doodh mein shakkar ‘ or even ‘Saatwe aasmaan par’ ? These and similar expressions are used when more than one pleasing matters are combined. Same is the case with film Madhubala. The most beautiful actress in Hindi film history and the most charming and handsome actor in Hindi cinema worked in this film as the lead pair in this film.Yes, Madhubala and Dev Anand.
It was a dream for many to see these two beautiful and handsome creations of the Almighty together. people would become ecstatic in the theatres, when they sang together or exchanged love dialogues on the screen. I know, because I too was one of them. Those days, Dev Anand was becoming the heart throb of many a college girls and young ladies. In the later years of the 50’s decade, Dev Anand was the most popular actor in the Hindi films.
In this film Madhubala-50, Dev and Madhubala acted together for the second time . Their first film was Nirala also made in 1950, but released first.In all they acted together in 8 films. This was a record till the Dream girl Hema Malini broke it with 11 films with Dev Anand.
Though Dev ( 26-9-1923) was 10 years older than Madhubala ( 14-2-1933), he was very junior to her in the Film industry. By the time Dev Anand did his first film Hum Ek Hain-1946, Madhubala had already done 13 films. She had started as a child artist in Swastik-1939. Madhubala-50 was her 35th film and Dev’s 13th film ! Fron Nirala-50 to Sharabi-64, they did 8 films together. Dev Anand did 116 films and sang 303 songs on screen. Madhubala did only 81 films and sang 189 songs on screen. Her speed came down drastically, after her Heart ailment was detected while shooting in Madras and the treatment had started.
Dev of course continued steadily for a much longer period, but out of his 116 films how many films were actually watchable is a moot question.
Film Madhubala-50 was made by Ranjit Movietone. There is an interesting story behind this film’s making. When Madhubala was about 13-14 years old, Chandulal knew her and also liked her. He had already predicted a bright future for her. Her father Ataulla Khan was a very careless and irresponsible person. One day, when Chandulal Shah was playing cards with his friends, he got a phone call from his nephew, Ratilal Punatar, saying that Madhubala had come and she is asking for a loan of Rs. 2000, on interest, immediately. Her mother was in serious condition to deliver for the 10th time and her father was not at home. Chandulal asked Ratilal to give the money to her without interest, but to tell her that in future if Ranjit needed her, she should work for them.
In the end of 40’s decade, due to a heavy loss in gambling, Ranjit had seen bad days. They decided to make a film with Dev and Madhubala. Ratilal went to Ataulla Khan, but he quoted an astronomical amount. Ratilal returned. Next day Madhubala herself came to Ranjit and told them that she will work in their film and that too without any money. Those were the days, when she had become famous after the success of film Mahal-49. But she worked in the film and Ranjit, as a mark of gratitude, named the film as Madhubala.
The film was directed by an outsider named Prahlad Dutt. He was actually a foreign trained photographer and Cameraman-expert in Trick scenes. He was working in Lahore in the early 40s. Pancholi’s film ” Shirin Farhad”-45 was getting ready and Prahlad Dutt was its Director and trick scene Master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single handedly, was done by Prahlad with astounding results. After the Partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.
Author Vithal Pandya, in his book ” Sapnon ke saudagar” has described an incident about Prahlad Dutt.
” Dutt was working in Ranjit, directing a film ” Mitti ke Khiloune”-48. It was in early 1948. Gandhiji was killed on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a Police Jeep entering the studio,in speed. Out jumped an Inspector and asked, ” Where is Prahlad Dutt?” Ranjit Manager asked” why?” the answer was ” We have his arrest warrant in connection with Gandhi killing”. While the Manager offered to call him here from another floor where he was shooting, the Police ran towards that place. As soon as Prahlad saw the Police, he started running, with Police chasing him and shouting stop stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.
He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. ”
Prahlad Dutt acted in only one film-Ek hi Bhool-40 ( There was another actor S.Prahlad in films same time, but he was different). He directed 5 films in all- Shirin Farhad-45, Piya Ghar aajaa-47, Mitti ka khilouna-48, Nazare-49 and Madhubala-50.
The music of film Madhubala was by Lachhiram Tamar. LACHHIRAM is a name not known to many readers. Most people think that his family name is TOMAR. Many sites and books also say so. However, one of his family members has clarified on the Blog,’ Songs Of Yore’ that the correct surname is TAMAR. He was a very talented but unlucky composer, who, despite his good work was never counted among the A grade composers.
LACHHIRAM TAMAR was a Punjabi Chaudhary born in 1914 in the princely state of Kuthar in the present day Himachal Pradesh. His father died early and he was brought up and trained in music by the Rana Jagjit Chandra of Kuthar, under the tutelage of Ustad Noore Khan. He came to Delhi at the age of 20 years and served in H.M.V.Company as a singer. He cut many records there. Side by side he was singing on A.I.R. also.
Aziz Kashmiri, writer and Director of Shorey Films, Lahore came scouting for talents and engaged him as an assistant to music composer for a salary of Rs.750 per month. He assisted in films like Champa, Badnami and Shalimar. His first independent film as a composer was Kahaan Gaye-46. Then he did Aarsi-47, Mohini, Birhan and Director in 47-48 and did Guru Dakshina and Madhubala in 1950.
The songs of Madhubala became Hits, but his luck misfired. He suffered from T.B. and had to leave everything. He lost one Lung also in it. However this brave man came back and did Ameer, Shaheed Bhagat Singh-54 (Sarfaroshi ki tamanna-Rafi), Maharani Jhansi, Guru Ghantal and Hazaar pariyaan-59. In his last spell he did Do Shahzade, Razia Sultan and his Last film was Main Suhagan Hoon-64.
Lachhiram Tamar died on 5-2-1966 at Bombay.
Today’s song is sung by G M Durrani – a singer who had a natural charm in his voice. I like many of his songs. His career was a ” Riches to Rags” story, which I will discuss some other day. Let us now enjoy his song today.
Song-kisiko yaad karta hai mera dil (Madhubala)(1950) Singer-G M Durrani, Lyrics- I C Kapoor, MD-Lachhiram Tamar
Lyrics
kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din
chaman mein gar bahar aaye hamen kya
kali gar phul ban jaye hamen kya
chaman me agar bahar aaye hame kya
kali gar phul ban jaye hame kya
chahak kar aam ki daai pe bulbul
khushi ke geet gar gaye
hame kya
hame kya
judai me tadapta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din
ye aansu aankh mein jo aa rahe hain
fasaana ishq ka dohra rahe hain
ye aansu aankh mein jo aa rahe hain
fasana ishk ka dohra rahe hain
tujhe meri kasam ik baar aaja
aaja
tujhe meri kasam ik baar aaja
sandeshe maut ke bhi aa rahe hain
aa rahe hain
yahi fariyaad karta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haay mera dil raat din
akela aahen bharta hai mera dil raat din
haay mera dil raat din
raat din
Dard apna chhupa ke dekhenge
Posted on: February 19, 2018
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 : | 3503 | Post No. : | 14073 |
“Atom Bomb”(1947) was a stunt movie which was directed by Homi Wadia for Basant Pictures, Bombay. This movie had John Cawas, Sona Chatterji, Dalpat, Sikandar, azeez, Vasant Pawar, Radha, Vijaya etc in it.
This extremely obscure movie had seven songs in it that were equally obscure.
Here is the first song from “Atom Bomb”(1947) to appear in the blog. The song is sung by a female singer. HFGK is silent about the identity of the singers of the songs. I C Kapoor is the lyricist. Music is composed by A Karim.
I request our knowledgeable readers to throw light on the movie as well as on the singer and the picturisation of this song.
I have not been able to get several words right in the lyrics. i request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
With this song, “Atom Bomb”(1947) makes its debut in the blog.
Song-Dard apna chhupa ke dekhenge(Atom Bomb)(1947) Singer-Unknown Female voice, Lyrics-I C Kapoor, MD-A Karim
Lyrics
Dard apna
Dard apna
chhupa ke dekhenge
Dard apna
chhupa ke dekhenge
kuchh na kuchh aur(?)
dikha ke dekhenge
kuchh na kuchh aur(?)
dikha ke dekhenge
Dard apna
chhupa ke dekhenge
dil ko shaayad
qaraar aa jaaye
dil ko shaayad
qaraar aa jaaye
aaj aansoo baha ke dekhenge
aaj aansoo baha ke dekhenge
Dard apna
chhupa ke dekhenge
dekh ??
usi ki yaadon ko o o o
apne dil se bhhula ke dekhenge
apne dil se bhhula ke dekhenge
Dard apna
chhupa ke dekhenge
??
?? kahaan dekhen
??
?? kahaan dekhen
aaj ham muskuraa ke dekhenge
aaj ham muskuraa ke dekhenge
Dard apna
chhupa ke dekhenge
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.
“Bholi”(1949) was directed by Ram Daryani for Murli Movietone, Bombay. The movie had Geeta Bali, Prem Adeeb, Shashikala, Jeewan, Gulab, Khatoon, Nazeera, Sheela, Ishu, Gope, Nwab etc in it.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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