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

Posts Tagged ‘Jagmohan Sursagar


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

Blog Day : 3923 Post No. : 14990

Today’s song is from an almost unknown film called Zamin Asman-46. The film was made by Saubhagya Pictures, but was promoted and distributed by Prakash Pictures. While HFGK mentions name of Saubhagya, the film booklet and other records show the name of Prakash Pictures. In fact, with this film, not only the rights of this film but the company Saubhagya Pictures was taken over by the Bhatt brothers for Prakash Pictures.

The film was directed by Dwarka Khosla (born in 1904), who started from silent film era. His first Talkie film was Josh E Jawani-35 and he directed, in all, 33 films till his last film Reporter Raju-62. All songs of today’s film were composed by Faiyaz Hashmi (1920 to 29-11-2011), who wrote lyrics for only 9 Hindi films in India. The Music Director was Kamal Dasgupta and today’s song is sung by Jagmohan Sursagar and Kalyani Das.

Kalyani is a name fit for ” Same name Confusion” and I find that though kalyani Bai and kalyani Das were two different singers, most sites, Blogs and even the well known book ” Swaron ki yatra” by Anil Bhargav ji, makes a mix up and they are treated as one person. Let us know who they were….

First Kalyani Bai. Hailing from Turkman gate in Delhi, Kalyani Bai was a born singer. She took lessons from Ustad Vazir khan and in no time started singing on A.I.R and HMV. She recorded many Ghazals, Khayals and Thumris. She was taken to Calcutta at the age of 13 years to act and sing in film Pardesi, which was shelved halfway, but she was offered a job by New Theatres at Rs. 250 pm. Her nickname was Kallo. R C Boral changed her original name Zarina to Kalyani bai.

She acted and sang in 4 films of New Theatres- Anath Ashram, mukti, president and Vidyapati till 1937. She acted with all big stars of that time. Later Chandulal Shah called her to Bombay with Rs. 800 per month and she joined Ranjit in Bombay, doing her first film Toofani Toli-37. After doing 9 films, she left Ranjit and worked for several production houses. In 1945, she was in the famous All Women Qawali in film Zeenat-45- Aahen na bhari, shikve na kiye.

After her marriage in 1948, she left films to raise a family. However, she had to come back to films after after many years to do some films in 1975 onwards. After doing some films with small roles, she realised that her time was gone and she retired completely. Her last years were spent in financial difficulties. She died on 1-10-2009. kalyani Bai acted in 26 films and sang 68 songs in 41 films.

Kalyani Das was born and brought up in Calcutta. She was born in 1927 in Calcutta. Her first Hindi film song came up in film Jawab-1942, but her solo song came in Kurukshetra-45, under the baton of Pt. Ganpatrao. When Kamal Dasgupta went to Bombay, he called her and she sang in film Meghdoot-45, Bindiya-46, Zamin Asman-46, Prem ki Duniya-46, Manmani-47, Faisla-47,Giribala-47, Swayamsiddha-49 and Iran ki ek raat-49. She sang 37 songs in 11 Hindi films in addition to several songs in Bangla films.

Kalyani Bai left Calcutta in 1937 and kalyani Das started in 1942 in Calcutta. Kalyani Bai never sang for Kamal Dasgupta or any imported Bangla composer. kalyani Das sang only for Kamal Dasgupta (8 films) and in one film each for Ganpat rao, Subal Dasgupta and Prafulla Choudhari. Therefore there need not be any mix up, but you know how it is in Hindi film industry ! Shortcuts are popular.

After Partition in 1947, it did not take long for things to become normal in the Indian film industry. This was mainly because ready replacements were available in plenty to fill the vacancies caused by migration. As far as producers and financers were concerned, almost all producers and film makers had arrived here from Lahore. It was actually Lahore which felt the absence of Film makers. Pakistan film Industry was somehow managed well by the experienced people who went from India and Pakistan enjoyed a ” GOLDEN AGE OF FILMS AND MUSIC ” from 1959 to 1977. Once the old generation retired, there was no second line to take over from them.

The film industry in Pakistan was never an organised one. Moreover the often changing Goverments did not bother to do anything to protect, sustain, help or develop the infrastructure of Film industry. Unlike India, there was neither a Films Division, nor was there anything like Film and Television Institute to build local artistes in different fields.

By 2010,the film industry in Pakistan was in such a poor shape that, against India’s film production of 13526 films in 2011, Pakistan had produced only 7 films in that year !

While Indian films were distributed in over 90 countries, there was no International market for Pakistan films.

All studios in Pakistan were in ruins and Theatres had been demolished.

Can you believe, In the entire Islamabad city, there is ONLY ONE Theatre-a multiplex of 4 screens ! (info from-Filmistan-Javed Shaikh 0n pk.politics.in dated 10-4-2014 )

We heard songs composed by the Music Directors who migrated to Pakistan,i.e. West Pakistan. Today we will talk about a famous and talented composer of Hindi/Bangla films, who migrated to East Pakistan (now Bangladesh). His name is KAMAL PRASANNA DASGUPTA or simply, Kamal Dasgupta.

It is a moot point whether Kamal should be called a Film composer or a NFS composer in Hindi and Bangla. He can be called the Originator or the Pioneer, who established NFS during the period from 1935 to 1955. It was he who introduced the word ” Hindustani Song” for NFS on the 78 RPM records.

Kamal Prasanna Dasgupta was born on 28-7-1912 in village Narail,Jessore district in East Bengal. He matriculated in 1928 and did his B.Com. Then he earned a doctorate in music from the Banares Hindu University. His father Tara Prasanna died early. Kamal, his brother Subal and sister Sudhira were brought up by the eldest brother Bimal Dasgupta.

In 1935, he joined HMV as a Music Director. Here he met Kazi Nazrul Islam, who was also employed there. Kamal was a singer himself and sang many songs in Hindi, Bangla and also Tamil. He tuned almost 400 songs written by Kazi as Nazrul Geeti. It was here that he met and developed the talents of singer Juthika Roy and Jagmohan. The modern songs tuned in Rabindra and a mixed ghazal style were labelled as ” HINDUSTANI SONG ” and soon became popular all over the country. Lyricist Faiyaz Hashmi was the third person in the team of Kazi, Kamal and Faiyaz. Besides Jagmohan, Kamal Dasgupta also helped Talat Mehmood and Hemant Kumar to get established with NFS in Hindi and Bangla. His close ties with Juthika Roy were ‘special’. She wanted to marry him, but when it was clear that it was not possible, she chose not to marry at all and remained a spinster throughout her life.

He gave music in 16 Hindi films like Jawab, Hospital, Rani, Meghdoot, Arabian Nights, Bindiya, Krishna Leela, Pehchan, Zameen Aasmaan, Faisla, Giribala, Manmaani, Chandrashekhar, Vijay yatra, Iran ki ek raat and Fulwari. However, except for Jawab and Hospital his songs did not become very popular. Kanan Devi became a National name after she sang “Ye duniya Toofan mail” in Jawab-42. He also gave music in 22 Bangla films.

Kamal was a chain smoker and suffered from Gall Bladder stones. Instead of an operation, he started taking Morphin injection for pain relief, but then he became its addict. His elder brother died and all the family responsibility fell on his shoulders. He had earned a lot, but all his money was lost when his bank went bankrupt. In Calcutta, New Theatres was almost on the verge of closing down. Arrival of new blood in music field took away focus from him and he felt neglected. He became a depressed person. Around 1958 he migrated to Dhaka-East Pakistan. He converted to Islam, changing his name to Kamal Islam. He also married singer Firoza Begum. The got 3 sons and a daughter.

After the emergence of Bangla Desh, the Government tried to help him, but it was too late by then as he had become disillusioned and depressed. In frustration he wrote to a friend “The pictures you see in front, everybody remembers them and praises them. But nobody wants to know the people who work behind the scenes, nor talk about them. That is the nature of the world.”

His was not in good terms with his wife. In his final days, he contracted T.B. Finally he said Good-Bye to this world on 20-7-1974. The originator and populariser of NFS in India and a maker of memorable songs like “Toofan mail” left us forever-unsung !

The Heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a Heroine with Dilip Kumar also in his early career. One can not get any information about her in any book or on the internet. here is some information about her, for our readers.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dancing for Ratan in the holidays. later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.

Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip Kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. But as the Luck would have it, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, prem Adeeb, Prithviraj Kapoor, Jairaj,Dilip kumar,Jeevan, Umakant etc etc

It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together. Her sister Kusum Deshpande was born on 20-11-1914 at Nagpur. She came to Bombay in 1930 and worked in Minerva as an apprentice, without pay. She worked in A.I.R. and some Marathi dramas and films. Her first Hindi film was Ghar ki Rani-40. She also did Charnon ki Daasi-41, Village Girl-45, Wamaq Azra-46 and Zamin Asmaan-46. In all she did 20 Hindi films. She married actor Vasant Thengadi on 30-11-1944.

We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example. Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 4 Hindi films starting with the famous film Chaani-77. Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.

Film Zamin Asman-46 was about a love triangle. Baburao Patel severely criticised this film and especially Jeevan- the Hero, in his film magazine Film India issue. The film was released on 12-7-1946 at Lamington Theatre, Bombay. The story of the film as outlined in this magazine was-

Nanak Chand (Ramesh Sinha) owns a sugar mill in partnership with Ravi (Jeevan)- son of his dead partner Pooran Chand. Ravi’s marriage with Nirmala (Kusum) is already announced, before he went to England for higher studies, but Ravi is not interested. Ravi is distressed by the plight of his factory workers, he meets Kamala (Ranjana) in a jungle ashramcalled Bharati Ashram. They fall in love.
There is a conflict between Nanak Chand and his workers. Ravi takes workers’ side. Finally, Nanak chand has to bow down and Ravi and Kamala unite.

Here is a duet sung by Kalyani Das and Jagmohan Sursagar. Jagmohan has not sung many songs in Hindi films. He was more interested and famous for his wonderful NFSs. Therefore it is more enjoyable. I like the voice of kalyani Das.

( Thanks to http://www.beetehuedin.blogspot.com for information culled from Kalyani Bai’s interview by Shishir Krishna Sharma ji )


Song-Ek geet sunaana hai hamen ek geet sunaana hai (Zameen Aasmaan)(1946) Singers-Kalyani Das, Jagmohan Sursagar, Lyrics- Faiyaz Hashmi, MD- Kamal Dasgupta
Both

Lyrics

Ek geet sunaana hai hamen
ek geet sunaana hai
Ek geet sunaana hai hamen
ek geet sunaana hai
rone waalon ko hansaana hai
duniya ko swarg banaana hai
hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

aansoo bhi hansi ban sakte rhain
haan aan aan aan
aan aan aan aan aan
kaanten bhi kali ban sakte hain

haan aan aan aan
aan aan aan aan aan
aansoo bhi hansi ban sakte hain
kaanten bhi kali ban sakte hain
ye kar ke hamen dikhaana hai
ye kar ke hamen dikhaana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

thhirak thhirak kar jaise baati
aanchal bhar bhar jyot lutaati
ee ee
waise hi

auron ke liye jal jaana hai
jal jaana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

ab na rahen ye sapne adhoore ae ae ae
ye geet hamen kar denge poore
ae ae ae

jo khoya hai so paana hai
paana hai ae ae
jo khoya hai so paana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

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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 : 3714 Post No. : 14643

Today I present a really wonderful song of Jagmohan Sursagar, Anima Dasgupta and Munir Alam from film Subah Shaam-1944. The music of this film was by Subal Dasgupta, younger brother of the more famous composer kamal Dasgupta. The film was made and directed by P.C. Barua for Indrapuri Studios, Calcutta. The songs of this film were written by Faiyaz Hashmi and Munir Lucknowi ( different from the singer Munir Alam). The cast of the film was Pramathesh barua, jamuna, Purnima ( she was different from Purnima of
Bombay ), Indu Mukherji, Munir, Devbala, Tulsi Chakravarti etc etc.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress jamuna for the role of Parvati aka Paro. With the fantastic success of Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of New Theatres) in place. New Theatres, in the 30s , was full of Titans having a larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said- “He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each others. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then kanan Bala and few more. Only pankaj Mullick, though hurt by New Theatre’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 frilms and sang 1 song in film Jawab-42.

Barua’s third wife Jamuna (10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalp ara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1950. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bangla and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died

In the thirties and played a small role in Mohabbat ki Kasauti(1934), Hindi version of Rooplekha (Bengali) directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever.

Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right. She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film.

Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but said good bye to the world soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives.. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in south Kolkata.

In Hindi, we have seen few Brother composer pairs like Husnlal Bhagatram, kalyan ji -Anand ji, Anand- milind etc etc. I can not think of any such pair whose brothers individually very famous as composers, except perhaps Pt. Amarnath and Husnlal – Bhagatram, but here too no two brothers were famous individually. There were some other brothers like Timir Baran and Mihir kiran and Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944.

Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention kamal Dasgupta’s name as its composer , but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,

“His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13

Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.

Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his time. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance.

When I first heard this song, I liked it very much. I am sure you too will love it. The singers are Jagmohan Sursagar, Anima Dasgupta and Munir Alam. These names are not mentioned in HFGK, but the stalwarts of RMIM, in their discussion have confirmed these names in the late 90s. Though the YT video mentions Hemant kumar, his voice is not there.

( Credits- RMIM forum, Talat Mehmood Biography, scroll.in, wiki, nazrul.com.bd, Sharmishtha Gooptu’s article ”The Glory that was” and my notes )


Song-Kuchh haseen hai subaho shaam (Subah Shaam)(1944) Singers-Anima Desgupta, Jagmohan Sursagar, Munir Alam, MD-Subal Dasgupta

Lyrics

Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

aish o raahaten bhi hain
dukh museebaten bhi hain
aish o raahaten bhi hain
dukh museebaten bhi hain
?? bhi hain
gham ki shaanaten bhi hain
gardish e jahaan mein
dillagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

maut bhi hai yaas bhi
din ke baad raat bhi
maut bhi hai yaas bhi
din ke baad raat bhi
apni apni ?? hai
aadmi ke saath hai
apni apni ?? hai
aadmi ke saath hai
raushani ke saath saath
?? hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

chaand mein chakor mein
jungalon ke mor mein
chaand mein chakor mein
jungalon ke mor mein
papeehe ke shor mein
papeehe ke shor mein
gulshanon ki ?? mein
bulbulon ki bekhudi(?)
keh rahi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam


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 : 3489 Post No. : 14013

Sardar (1955) was produced and directed by Gyan Mukherji for Gyan Mukherji Productions, Bombay. Though described as a “social” movie in HFGK, is was a suspense movie. It had Ashok Kumar, Bina Rai, Jagdish Sethi, Nigar Sultana, Rama Sukul, Tiwari, Mishra, Vasantrao, Ifthikaar, H Murad, Sampson, Bhoopendra Kapoor, Jamal, Mehmood, Samar Chatterji, Sailen Bose, Pal Sharma, S K Singh, Sheila Vaz etc, with Guest appearance by Nana Palsikar.

The movie had 9 songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Sardaar”(1955). This song is sung by Asha Bhonsle. Uddhav Kumar is the lyricist. Music is composed by Jagmohan Sursagar.

Only the audio of the song is available. The song sounds like a villain’s den song cum club song. I request our knowledgeable readeers to throw light o the picturisation of this song.

[
Song-Khili kali armaan ki (Sardaar)(1955) Singer-Asha Bhonsle, Lyrics-Uddhav Kumar, MD-Jagmohan Sursagar

Lyrics

aa haa
aa aa aa
hmm hmm
hmm hmm
hmm hmm hmm hmm

khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki

aaj chhalakta jaam le
aaj chhalakta jaam le
mere laakh salaam le
ji bhar ke ji
bhar bhar ke pi
marzi meharbaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki

tu dil ke har raag mein
tu dil ke har raag mein
mere har andaaz mein
mera jahaan tujhmein ??
khaaun kasam jaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki

mehfil ki aagosh mein
mehfil ki aagosh mein
kar doon tujhe madhosh main
armaan jagen phir na lagen
nazren beimaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki


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.

Readers from Gujarat must have heard the name of Shri Rajanikumar Pandya ji, a famous writer and winner of five awards from Sahitya Academy of Gujarat. One of the several books he has written on film people is “Aap ki Parchhaainyaan “.( He had gifted me this book). This book contains information derived from his personal interactions with several film greats like Nargis, Talat, Shamshad, Mubarak Begum, Jaikishen, Mukesh, Rafi, Composers Kalyan ji – Anand ji, Naushad, Anil Biswas, Hemant Kumar, Kavi Pradeep and a few more. In this book he has devoted 30 pages for his personal experiences with Jagmohan Sursagar ( Jaganmoy Mitra ). This is about the period close to two years when Jagmohan first stayed in his house and later elsewhere in Ahmmedabad. Jagmohan had already retired by that time and he was a devastated person due to the demise of his mother and wife in a span of a few months.
Read more on this topic…


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

Continuing with some rare gems penned by Kaif Irfani, I present a song ‘hansa sakey rulaa sakey wo pyaar hamse keejiye’ sung by Lata Mangeshkar from the film SARDAAR (1955). The song was composed by Jagmohan Sursagar. The film was produced and directed by Gyan Mukherjee The star cast of the film included had Ashok Kumar and Bina Rai in the lead roles with Nigar Sultana, Jagdish Sethi, Iftekhar, Tiwari etc in the supporting role.
Read more on this topic…


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

Last week, I was surfing the internet to gather information on the Urdu poet and lyricist Kaif Irfani. While I did not get much information on him, I was rewarded with a couple of rare songs written by him. One of the rare songs which I heard for the first time is ‘pyaar ki ye talkhiyaan jo na sah sakoon’ from an obscure film called SARDAAR (1955).
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Jaganmoy Mitra – that is the name behind the voice of such incredible gems as “Ye Na Bataa Sakoonga Main, Dil Ko Hai Tum Se Pyaar Kyun”, “Aankhon Mein Basaa Mann Hai Mera, Mann Mein Basaa Kaun”, “Meri Aankhen Bani Deewaani” , “Sapnon Mein Mujhko Pyaar Milaa”, and so many more non-film and film songs, that will never fail to tickle the heart and move the listener to feel the emotion behind the words. For more than seven decades, the treasures of his voice have pleased discerning listener’s of many generations. A voice that always kept to classical and semi classical consistency, and then faded away from the mainline singing for films, around the mid 50s. Yet, his popularity has not waned. Limited maybe, the treasure of his singing gems, but his name evokes a pleasant attachment, whenever his songs are played.

Remembering Jagmohan ‘Sursagar’ on the anniversary of his birth today (6th September).
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The magic of Jagmohan’s NFS does not end, it is for ever.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The fifth decade of last century (40s) was very significant for Music lovers. It is during this period that along with film music, Non-Film Songs(NFS) also became very popular. Recording of such songs first began in Bengal. In fact many singers started cutting their records for private songs from 1937-38 onwards . The response of the people to such songs was so overwhelming that many new singers started their careers with NFS.
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This article is written by Shekhar Gupta, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Recently our Mr. Sadanand Kamath has posted on this Blog two superb numbers by Jaganmoy Mitra, better known as Jagmohan Sursagar, together with rich information (and links) on this veritable ocean of melody. They are: O varsha ke pehle baadal from Meghdoot (1945), and a non-filmy song Mat kar saaj-singaar sundari.
Read more on this topic…


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14900 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

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